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UPPER AND LOWER CASE. THE INTERNATIONAL JOURNAL OF TYPOGRAPHICS 

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In this issue, our 8-page color section 

demystifies computer graphics. For all 

its complex technology, its langu.age of 

acronyms and abbreviations and its 

seemingly supernatural powers, 

graphics by computer boils down 

to connecting dots. 

il%!?0[I 

PUBLISHED BY INTERNATIONALTYPEFACE CORPORATION, VOLUME NINE, NUMBER THREE, SEPT. 1982

We. 

VOLUME NINE, NUMBER THREE, SEPTEMBER. 1982 

EDITOR: EDWARD GOTTSCHALL 

ART DIRECTOR: BOB FARBER 

EDITORIAL/DESIGN CONSULTANTS: LOUIS DORFSMAN, ALAN PECKOLICK 

EDITORIAL DIRECTORS: AARON BURNS. EDWARD RONDTHALER 

ASSOCIATE EDITOR: MARION MULLER 

CONTRIBUTING EDITOR: ALLAN HALEY 

RESEARCH DIRECTOR: RHODA SPARBER LUBALIN 

BUSINESS MANAGER: JOHN PRENTKI 

ADVERTISING/PRODUCTION MANAGER: HELENA WALLSCHLAG 

ASSISTANT TO THE EDITOR: JULIET TRAVISON 

ART/PRODUCTION: ILENE MEHL. ANNA DEMCHICK. SID TIMM 

SUBSCRIPTIONS: ELOISE COLEMAN 

0 INTERNATIONAL TYPEFACE CORPORATION 1982 

PUBLISHED FOUR TIMES A YEAR 

IN MARCH, JUNE, SEPTEMBER AND DECEMBER 

BY INTERNATIONAL TYPEFACE CORPORATION 

2 HAMMARSKJOLD PLAZA, NEW YORK. NY 10017 

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ISSN 0362-6295 PUBLISHED IN USA 

ITC FOUNDERS: 

AARON BURNS, PRESIDENT 

EDWARD RONDTHALER, CHAIRMAN EMERITUS 

HERB LUBALIN, EXECUTIVE VICE PRESIDENT 1970-1981 

ITC OFFICERS 1982: 

GEORGE SOHN, CHAIRMAN 

AARON BURNS. PRESIDENT 

EDWARD GOTTSCHALL. EXECUTIVE VICE PRESIDENT 

BOB FARBER. SENIOR VICE PRESIDENT 

JOHN PRENTKI, VICE PRESIDENT, FINANCE AND GENERAL MANAGER 

EDWARD BENGUIAT, VICE PRESIDENT 

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TO QUALIFY FOR FREE SUBSCRIPTION COMPLETE AND RETURN 

THE SUBSCRIPTION FORM IN THIS ISSUE TO ITC OR WRITE TO 

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MICROFILM COPIES OF U&LC MAY BE OBTAINED FROM MICRO PHOTO DIVISION. 

BELL 6 HOWELL. OLD MANSFIELD ROAD, WOOSTER, OH 09691 

AS THIS ISSUE OF U&LC WAS IN ITS PLANNING STAGES, ART DIRECTOR BOB FARBER WAS HOSPITALIZED. 

HE IS NOW RECOVERING AND WE LOOK FORWARD TO HIS EARLY RETURN. FOR THIS ISSUE, MO LEBOWITZ, 

FREQUENT CONTRIBUTOR TO U.LC, DESIGNED PAGES 1.9; 24-25; 2829 AND 36-45; AND ASSISTED IN THE 

COMPLETION OF THE DESIGN FOR PAGES 10-15 AND 20-23. 

In this issue: 

Editorial 

A report on the colossal Drupa exhibition in Dusseldorf 

with tantalizing descriptions of the newest wrinkles in 

electronics, destined to continue the revolution in the 

graphics world. Page 2 

Collecting Clocks 

Some clocks do more than tell time. As fascinating as their 

timepieces is the story of why and how Joseph and Cindy 

Fanelli started to collect them. Page 4 

Alphabet of the Printer's Art 

Necessity was the mother of a beautiful invention. A 

graphic artist shares his collection of decorative initials, 

which includes specimens from famous old hands. Page 10 

Sumo 

The strange romantic tale of a fashion illustrator who 

turned off on couture and turned on to Sumo wrestling as 

the subject of her art and object of her affections. Page 12 

Man Bites Man 

Cartoons, caricatures, graphics—acerbic and satiric—by 

artists past and present, American and European, provide 

the theme of a new series by Steven Heller. Page 16 

The Fantasy and Passion of Aguirre 

A sophisticated and eloquent printmaker recognizes his 

roots in a compelling native folk art form. Page 20 

Simon Nathan's Lettergraphs 

A photographer eschews the guaranteed "stoppers"— babies, 

nudes and animals—and focuses on letteiforms. Page 24 

Alphabets 

Two more animated alphabets, supplied by our readers, 

wherein people, birds, fish and cats contort themselves into 

26 unprecedented postures. Page 26 

Coins and Paper 

There's a small fortune in currency of every description 

and denomination buried here. Get a pencil and dig in. 

Page 28 

What's New from ITC 

ITC New Baskerville;" the 'beautiful workhorse' of 

typefaces, is being offered, for the first time in an extended 

family of weights, both roman and italic. Page 30 

Connecting Dots 

What can you do, graphically, on the computer? In festive 

color, but simple language, a sampling of graphics 

produced at the Computer Graphics Laboratory, a think 

tank, ivory tower and bustling workshop at the New York 

Institute of Technology. Page 36 

Computer Graphics and You 

New systems, equipment and options for computer artists, 

as seen at the Annual National Computer Graphics 

Association; and an interview with some pioneers. Page 45 

This issue of U&lc was mailed to 190,000 readers; 156,000 in the 

United States and Canada, and 34,000 abroad. It will be read by over 

500,000 people. 

TABLE OF CONTENTS AND EDITORIAL SET IN ITC NEW BASKERVILLE' 

MASTHEAD SET IN ITC NEWT'EXT'A (REDUCED). 

Editorial: 

The new order changeth... 

"The old order chang-eth, 

yielding place to new", II 

he tempo 

of change in our industry is so 

rapid that, as a recent visit to 

DRUPA shows, even things so new 

that we barely understand them 

are becoming obsolete. 

DRUPA is the world's most 

colossal exhibition of new graphic 

arts technologies. It is held once 

every five years. The name DRUPA 

is an acronym, a blending of two 

German words: Druck (printing) 

and Papier (paper). If you've ever 

worn out your legs at Chicago's 

McCormick Place you know how 

vast such a show can be. Well, the 

fairgrounds in Dusseldorf, Germany, 

where DRUPA made its two 

week stand in June, are equal to 

more than a dozen McCormick 

Places. Many major innovations 

are first shown there. 

U8c1c herewith brings to its 

readers highlights of some of the 

major developments of interest 

to graphic designers. For more 

detailed reportage, see the Seybold 

Report on Publishing Systems, 

No. 18, and follow-up Reports. 

The big trend. As we move nearer 

the mid '8os two trends forecast 

in U&lc's "Vision '8os" report are 

converging and reaching the market—the 

electronic merging of 

text and graphics (in black-andwhite 

and in full color) and computer 

programmed full-page (even 

full printing form) makeup. 

Perhaps the most advanced 

system at this writing is that 

offered by Scitex. Just a year ago 

Scitex added to its electronic color 

correction system an on-line page 

and multi-page makeup system 

that accommodated off-line 

text. Scitex interfaced to color 

Alfred, Lord Tennyson. " Idylls of the King" 

scanner/separators of other manufacturers. 

Now Scitex has added 

several major capabilities of interest 

to graphic designers. 

DO 

Scitex Vista is a computerized system 

for page layout design and 

makeup. It can receive input 

from picture scanners and text 

composition systems and convert 

the data into complete pages 

ready for film or plate exposure 

or gravure cylinder engraving. 

Text is displayed on the screen in 

the real typeface, size, leading, 

width values, line endings. Pictures, 

text, make-up can be interactively 

edited. A two-page spread 

can be displayed on the CRT or 

any detail of it can be magnified 

to display minute details In essence, 

Vista creates an electronic 

mechanical. All final elements are 

assembled, color corrected and 

airbrushed electronically. 

Raystar will receive full-page layout 

data from Vista or other frontend 

composition systems and 

output every two minutes a pressready 

plate of film up to 24"x 1.8'.` 

Raystar is also a scanner that can 

scan furnished graphics. The digital 

data it generates can be input 

to layout design systems such as 

the Vista and pre-press systems 

such as the Scitex Response-30o. 

Lynart is a console with a CRT and 

a graphic tablet. It is a black and 

white accessory for space plan 

ning, page layout, tints and linework 

editing. 

A new patented laser screening 

process that produces all-angle, 

all-shape halftone screens of a 

quality comparable to that obtained 

using contact screens. 

Texta is Scitex's typesetter. It provides 

input to the Scitex pagination 

systems and laser output

devices. Texta stores digital master 

fonts. It holds thousands of font 

families on line as well as logotypes 

and graphic symbols. It can 

also accept text and logotypes 

from any standard front-end composition 

system. It outputs, via a 

laser, in fine resolution for high 

typographic quality. With Texta a 

traditional typesetter and scanner 

are bypassed, data remaining in 

digital form until output. Texta 

outputs to any Scitex output 

unit. The first 5o digital fonts 

have been delivered to Texta by 

Bitstream, Inc. 

DO 

Other systems merging text and 

graphics and offering interactive 

electronic full-page makeup 

include the Sigmagraph 2000 

(Dainippon Screen Mfg. Co. Ltd.) 

which is also a sophisticated electronic 

color scanner, retouching 

composition system. Type is 

scanned into the system. Crosfield 

scanners also added typesetting to 

their separation-color correctionpagination 

system by interfacing 

to Information International's 

Tecs text editing and composition 

system. 

The magic system. Berthold 

Fototype demonstrated its "magic" 

system at DRUPA. Magic makes possible 

joint processing of text matter 

and rules, graphic elements, 

and photographic material. Magic 

is still being developed and is, at 

present, black-and-white oriented. 

It features a sophisticated h & j 

program, new kerning standards 

based on a unitization system 

that divides the em into 288 units, 

and stored geometrical graphic 

elements. The system includes a 

graphic monitor (high resolution), 

a 158 character programmable 

keyboard, and a touch screen. 

Linotype now has a "Graphic 

System" (not to be confused with 

its color scanners). It enables halftone 

and linework to be digitized, 

stored, recalled and modified 

prior to typesetting. It can adjust 

tone values to compensate for the 

screening process or poor originals. 

The system includes a laser 

digitizer, an interactive graphic 

editing terminal and disc storage, 

a Linotron 202W, computer and 

a matrix printer. It works with a 

variety of front ends. 

Typesetters. The trend among 

typesetters is to do more than set 

type: set graphics, make up pages, 

do data or word processing, perform 

business functions. 

Several major new typesetters 

and models were introduced 

at DRUPA. These include AM Varityper's 

Comp/Edit 6400 CRT. 

The 6400 is a direct entry digital 

typesetter. It looks like a photographic 

Comp/Edit but has a 

higher output speed (160-200 1pm). 

The Scantext moo is a direct 

entry digital typesetting system 

and an area composition system 

giving multi-column output and 

setting horizontal and vertical 

rules. The Scantext moo, presently 

available in England, is 

made by Dr. Boger Photosatz 

GmbH and marketed by Visutek 

Graphic Products Ltd. 

Linotype's cRTronic is now 

available in three models-10o, 

150, 200. This is a direct entry digital 

typesetter. cRTronics can now 

use cP/m programs and thus 

handle a wide range of business 

applications. 

A typeface hotline. Users of 

Linotype digital typesetters can 

now access over 1200 digitized 

typefaces via the Linotype Font 

Center's hot line. Users with modems 

can literally dial the Linotype 

Font Center in Frankfurt and 

receive the digital font in minutes 

in London, South Africa, Australia, 

Singapore and many key 

centers in Europe. 

MAPS is an acronym for the 

Itek Quadritek Multiple Application 

System. The once little direct 

entry typesetter has become a full 

system with a display terminal, 

floppy disc drives, and a typesetter 

available in four models. The system 

is modular, and, with appropriate 

software, can handle word 

and data processing and business 

management tasks as well as typesetting. 

Each module in the system 

has its own microprocessor. 

The software options include 

Quad Quick, a package of preprogrammed 

typesetting formats. 

Autologic showed the APS-5G 

which can set graphics as well as 

text, an improved page assembly 

system and a low cost table-top 

typesetter. 

The Mark II is a new Monotype 

Lasercomp. It handles nonroman 

alphabets including 

Chinese, line art, logotypes, all set 

in a single pass and with all makeup 

performed at the front end. It 

produces output ready for exposure 

to the press plate. A Lasercomp, 

teamed with an Autokon 

camera and a Xenotron electronic 

composition terminal can 

scan and screen photographs, 

merge them with type and line art 

and output fully made up pages. 

Modular and multifunctional. 

Compugraphic's Modular Composition 

Systems mcs' now offers 

a cP/m 86 operating system that 

makes it compatible with a broad 

range of business software. Also 

now available to mcs users are 

Wordstar, Spellstar, and Mailmerge 

software to perform a variety 

of word processing, spelling 

and list merging functions. Cornpugraphic's 

8600 digital typesetter 

now offers a high speed (215 

1pm) high quality (5200 scan lines 

per inch) model. The high resolution 

option can be switched back 

to the standard 1300 lines per 

inch when it is not needed. 

Sim-X PAGE Comp is a family 

of interactive terminals for ad 

composition and page makeup 

and a mo-pica typesetter, the 

PAGEscan, and a graphics input 

unit. The Sim-X units comprise a 

complete, full-page electronic 

system for handling text, line art, 

logos and pictures. The PAGEscan 

contains the picture module. Its 

output resolution for type is moo 

lines per inch. It takes about ioo 

seconds to set a 16 1/2"x 24"page. 

Typefaces in printers. The 

trend for devices other than typesetters 

to set type continues. For 

example, Ism seems close to entering 

the market with an electromatrix 

printer capable of storing, 

and outputting type fonts. The 

prototype device shown at DRUPA 

outputs on a specially developed 

aluminum paper. The type output 

at the demonstration was of good 

quality. System software showed 

a capability to handle complex 

tables and rules as well as to 

change type size and style. 

Another printer with a typographic 

capability is the PE4000. 

Made by Pump Electronics 

(Denmark) it is a laser forms 

composing system. It is expected 

to be available in the United 

States where it has already been 

demonstrated. 

What does all this mean? Many 

among us who did not grow up 

with computers are fearful of the 

new technologies—afraid they will 

replace us or that we won't know 

how to use them. We've seen 

enough "oldtimers" adapt readily 

to the new technologies to know 

this need not be so. We are 

reminded of Robert Browning's 

opening lines to "Rabbi Ben Ezra"— 

"Grow old along with me! 

The best is yet to be, 

The last of life, for which the first 

was made: 

Our times are in His hand 

Who saith a whole I planned, 

Youth shows but half; trust God, see 

all, nor be afraid." 

And for those who think all these technological 

wonders will do all their work for them, forget it. 

Computers are just tools. They don't replace taste, 

judgment, initiative, creativity. They can set words 

or graphics but can't think them. As Hamlet said, 

"Words without thoughts never to heaven go." 

Edward M. Gottschall 

3

4 

Cone 

There are two kinds of people in the 

world—"collectors"and"discarders." 

Since no one expects to hear any 

thrilling answers to the question: 

"What have you thrown out lately?" 

we're most often exposed to stories 

about collections. And just as fascinating 

as what people collect is why 

and how they got started in the 

first place. 

Take the case of Joseph and 

Cindy Fanelli. It was Joe's voice that 

got them started on clock collecting. 

Joe Fanelli was a professional entertainer 

who sang his way across the 

U.S. and Canada, touring the nightclub 

circuit. On weekends, when he 

was close enough to home base, his 

wife Cindy would join him. To fill the 

daytime hours between performances,Joe 

and Cindy joined that 

tireless breed of American tourists 

who spend their vacations hunting 

down auctions and antiques fairs. 

Cindy had been turned-on to auctions 

by a friend, and Joe had been 

expertly schooled in clock and 

watch repairs by an oldtime friend 

and master craftsman. It didn't take 

too many such weekends for them 

to acquire a sizable collection of old 

clocks and "things."The first hint 

that this could become a business 

venture came with the purchase of a 

broken down schoolhouse clock, 

which they acquired for two dollars. 

Joe,it seems, rushed in where experienced 

repair men would fear to 

tread. Instead of buying a new mainspring 

for the clock, he rewound the 

old one at considerable danger to 

himself (a tightly wound mainspring 

can"explode"in your hands and cut 

them to shreds). Nevertheless, the 

job was done expertly and Joe Fanelli 

sold the repaired clock for $25. 

While this seemed like a substantial 

profit, it was not nearly what the 

market could bear. He discovered 

that similar clocks were selling for 

twice as much. 

When Cindy and Joe saw the 

potential for combining their incurable 

mania for auctions with his 

skills at watch repair, it seemed a far 

more salubrious lifestyle than one- 

night-stands in cafe lounges.In 1969, 

they set up shop in earnest. Their 

first quarter turned out to be a half 

—half of a store they shared with a 

shoe repair man. Though they had a 

large collection of assorted merchandise 

for sale, Joe, for the most 

part was repairing clocks—some that 

he had picked up for himself, and 

many brought to him by antique 

dealers. He became more and more 

fascinated with the unusual timepieces 

that moved through his shop 

and his hands. As happens to all 

collectors, the Fanelli's appetite and 

acquisitions soon exceeded their 

space, and they realized they had to 

contain their interests. They finally 

divested themselves of all the extraneous 

paraphernalia and concentrated 

on clocks—at first very large ones, 

but currently small ones with a 

specialty in carriage clocks. They 

have long since left their half of the 

shoe repair shop and can be found 

now in the heart of New York's 

antiques district-2nd Avenue at 

53rd Street. Years of concentration 

have refined their inventory and 

Joseph Fanelli is recognized as a 

connoisseur in his field, a specialist 

in the sale and restoration of antique 

timepieces. 

At this point we should digress and take 

note of the historic significance of the 

words clock and watch, which originally 

had different meanings. Clock 

derives from the Latin clocca which 

means bell. Early timepieces that struck 

the hours by sounding a bell came to be 

known specifically as clocks. The word 

watch relates to the ancient custom of 

dividing the night into periods of time 

when soldiers orguards kept a lookout, or 

watch. Watches technically are not 

bell-ringers or chimers, but today the 

words clock and watch are used interchangeably. 

When in doubt, the word 

timepiece is suitable for all occasions. 

Carriage Clocks 

The mainstay and pride of the Fanelli's 

are their carriage clocks. They are 

highly ornamental, exquisitely fabricated 

small clocks which originated 

in France in the 18th century. They 

A complete timepiece, giving day, date, month, 

hour and half hour chimes, packed into a 21/2" 

miniature carriage clock. 

derived from the small timepieces 

Napoleon's officers carried with 

them on their extended"tour"of 

Europe. These magnificent little 

clocks became extremely popular 

and were produced in great quantities 

in England, and to a lesser extent 

in Switzerland, Germany and elsewhere 

on the continent. 

Translated into contemporary 

terms, we might say the carriage 

clocks were traveling clocks. Often 

they came with a protective leather 

case, and in rare instances, with a 

little stand. When the owner packed 

his bags to go on a trip, he could 

lift the little clock by its convenient 

handle (leaving the base at home) 

and carry his timepiece along on 

his travels. 

These little carriage clocks are 

works of art from their innermost 

ratchets to their sumptuous surfaces. 

In size, they came from 21/2" to 3" 

called miniatures, to 5" to 8" called 

standard, and 12" to 18" called giants. 

The rarest and most valuable specimens 

are the miniatures which weigh 

only about one pound. Considering 

the small size of all the carriage 

clocks, and the fact that they were 

built before such things as quartz 

crystals, mini-transistors and pinsized 

batteries, they are technological 

marvels. Some strike hour and 

half-hour intervals. Some rare models 

strike quarter hours. Extremely 

rare models repeat minutes. Some 

have a full calendar, giving day, date 

and month. And some even sport 

perpetual calendars which correct 

themselves for leap years. 

The simplest editions of carriage 

clocks have backs and often 

side panels fitted with glass, so the 

works are completely visible. But 

1. The"Gulliver"clock, a 5-inch,19th century carriage clock engraved with 

scenes from Gulliver's Ikavels.

Clocks 

an inside story 

the appetite for ornamentation in 

18th and 19th century England and 

France was also sated with more solid 

stuff. Among the fabulous carriage 

clocks in the Fanelli collection are 

some that are encrusted with gems, 

others embellished with gilt, and 

many with decorated side panels of 

Limoges, champleve and cloisonne 

(all intricate enamel work over copper 

or brass). An unusual clock in the 

shop is decorated in pietra dura, a 

special technique of Italian craftsmen, 

in which colored stones are 

cut into patterns and set in marble. 

The actual designs, on the panels 

were geared to the tastes of the 

marketplace. Some had biblical 

motifs; others related to literary 

works (one of the Fanelli's prize 

5" carriage clocks is engraved with 

scenes from Gulliver* Travels); some 

depict the seasons of the year, and 

still others are decidedly oriental in 

flavor with bamboo framework, cut 

fretwork designs and oriental motifs 

in the illustration. These latter 

designs were aimed at the growing 

market in the Far East and also 

catered to the prevailing taste for 

Chinoiserie on the continent. The 

continued on next page 

2.Automaton-skeleton clock with 

palace framework. English timepiece 

with Swiss music box. One minute 

before the hour strikes, music starts up 

and soldiers parade about the palace. 

3.Automaton clock, 14 inches high 

including upper case which contains 

a woodland scene with chirping 

animated birds. 

4.A 9-inch humpback carriage clock 

with perpetual calendar which corrects 

itself for leap years. 

5.French-made, 19th century porcelain 

annular dial urn. In place of a 

clock face, rotating dials sandwiched 

below the neck indicate time. 

5

6 

market for carriage clocks invited 

design variations of many kinds. In 

addition to the four-sided rectangle, 

there were hexagonal and oval forms 

and also humpback styles. 

The rarest and most prized of 

the Fanelli's carriage clocks are the 

miniatures which go for about five 

to ten thousand dollars at auction. 

A calendar-repeater miniature, which 

gives time of day and date, strikes 

the hour and half-hour (and repeats 

the hour) on demand. 

Skeleton Clocks 

Another specialty in the Fanelli shop 

are the skeleton clocks. In the early 

19th century, when Americans invaded 

the clock-making market with 

inexpensive timepieces, the English 

manufacturers tried to counter the 

competition with the phenomenon 

known as the skeleton clock. It 

appealed to the taste for novelty 

and the Victorian mood for highly 

decorative accoutrements. The 

skeleton clock was exactly what the 

name implied—a clock with the 

works exposed, overlayed with a 

decorative see-through framework. 

Favorite themes for the framework 

were elaborate castles, intricate 

gothic-style cathedrals and also 

simpler forms such as lyres, hearts, 

sheaves of wheat, etc. According to 

the Fanellis, the skeleton clocks 

were designed originally for a more 

limited purpose. It was a required 

project, like a thesis, for all students 

of watchmaking to produce a clock 

that would demonstrate their expertise.Since 

the clocks had to be 

examined by master-craftsmen, they 

could not be enclosed in a framework 

but had to be left in skeleton 

form. Whatever the origin, skeleton 

clocks were extremely popular in 

England in the mid-19th century. 

Tens of thousands were produced 

between 1820 and 1890, but by the 

early 1900's they had all but disappeared 

from the marketplace. 

An extremely rare and valuable 

clock is the skeletonized carriage 

clock, made in France for the 1851 

Exposition. It is completely exposed 

with only four decorative columns 

framing it. Made of solid silver fittings 

and gold plated surfaces, the 

columns are decorated to celebrate 

the disciplines of mathematics, 

science, horology and mechanics. 

Automatons 

Another prize skeleton clock in their 

shop is the palace clock. It combines 

an English-made frame and timepiece 

with a Swiss music box, plus 

still another surprise element. The 

music box starts up about one minute 

before the hour strikes, and 

with it, a parade of automated soldiers 

marches around the palace.This 

masterpiece of brass and silveredbrass 

valued at $15,000 was created 

in 1860 and is part of a private collection. 

Clocks like the skeletonpalace,which 

contain animated 

figures or objects that work in conjunction 

with the clock mechanism, 

are called automatons. 

Among the automatons in the 

shop is a carved wooden figure of a 

peddler, made in Germany in the 

early 19th century. ,with a jaw that 

drops down and a pair of eyes that 

dart back and forth with a startled 

expression. There are other clocks 

with moving parts, though not 

strictly speaking considered to be 

automatons: a lyre clock,with an unusual 

pinwheel escapement (evenly 

spaced pins, instead of teeth, control 

the rate of movement) also sports a 

compensator pendulum. Here, a 

series of rods of different metals expand 

and contract with the weather 

and indicate when the time is "off" 

due to weather conditions. There is 

also a made-for-Tiffany lyre clock 

designed with a ring of"brilliants" 

that move around the clock face in 

synch with the mechanism ... a 

Japanese temple clock, with a dial 

that rotates while the hands stand 

still ... a swinger clock that rocks 

back and forth ... and a most unusual 

French annular dial urn. This delicate 

porcelain vase-shaped timepiece 

has no clock face, but is fitted with 

two revolving bands, sandwiched in 

the body of the urn, which indicate 

the time in hours and minutes. Some 

of the clocks illustrated here are for 

sale; some have been sold and are 

in the Fanelli shop for restoration, 

and others are from permanent collections 

but left with the Fanellis 

to be maintained. 

All their timepieces notwithstanding, 

it seems the Fanellis have 

simply not found the time to officially 

change their name from the 

original "Clocks and Things" to 

simply "Clocks." But no matter. 

Anyone in the market for an unusual 

timepiece or expert advice on the authenticity, 

the history or restoration 

of antique clocks, need only to look 

in the Manhattan phone book for 

Joseph Fanelli,"Clocks and Things." 

MARION MULLER 

6. Lyre clock with moving ring of brilliants around clock face; made for Tiffany with matching candelabra.

1 0. 

7 Giant `Japanese Temple clock, 

early 19th century design, 55 inches 

high; face rotates while hands remain 

still. 

8. Closeup of face of `Japanese Temple clock. 

9.Skeleton clock with gothic cathedral framework; strikes quarter hours on 8 

bells. 

10.Early 19th century lyre clock with compensator pendulum which reports 

discrepancies in time due to weather conditions. Pendulum and clock are one. 

11.The"Peddkr"automaton,German-made,carved out of wood with movable 

jaw and eyes in synch with clock movement. 

7

8 

12. Miniature 3'/2-inch rococo car- 13. An 8-inch hexagonal carriage 14. French 3-inch miniature carriage 15. Bamboo-framed carriage clock 

riage clock with 5 Limoges panels— clock with Limoges panels illustrating clock with Italian pietra dura panels; designed for oriental market; 71/2 

4 sides and I on top. the seasons. gives time only. inches high with porcelain side panels. 

12. 

14.

16. Late 19th century French-made 

swinger clock. Clock-and-pendulumin-one, 

set in blue metallic-finish 

ball which rocks in synch with clock 

movement. 

17 A rare 9-inch skeletonized carriage 

clock, made for the 1851 Paris Exposition. 

Corner columns designed to 

represent mathematics, science, horology 

and mechanics. 

18.Swiss 21/2-inch miniature carriage 

clock with 3-dial calendar for day, 

date and month; strikes hours and 

half-hours and repeats. 

19.A 6-inch oval carriage clock; 

called "The Christmas Clock"because 

of its holly decorations. 

9

10 

11 The artist's name is unknown. This was his 

"C monogram. Cofogne/1560-1570

Does the phrase"Pubfication Design" 

sound like a contemporary magazine... 

or an art school course in graphics ? The 

words may sound new, but the idea is as old 

as the phenomenon of reading. 

In the ancient world, communication 

was mostly oral. Myths and folklore were 

passed along by word of mouth. News 

events were procfai by town criers. 

Religious dog ma was pronounced by priests 

Grotesque Alphabet. The Netherlands/ 1464 

or dramatized on the stage. In short, it's 

hard to imagine a citizen of the ancient 

world curling up with a roll of papyrus 

for"a good read." 

But in medieval times, certain select 

people became"readers "The Catholic 

Church was the main educator, and the 

books were Bibles, psalters and missals. It 

was then that the look of a book became a 

matter of extreme concern. To enliven the 

:K.1■1.":46"-r 

.

12 

ywn 

nn 

THROUGH 

THE EYES 

OF AN 

ARTIST 

,4 1 

" ' 

Iwanami Zeki, during summer tour, 

photographing another wrestler.

HERE'S A SAYING (or 

there should be) 

that fate is stranger 

than fiction. Lynn 

Matsuoka's involvement 

with sumo 

bears the unmistakable 

stamp of fate, but 

it also has something of the 

poetic glamor of fiction. Lynn's 

training, her interests, the 

roads not taken,as well as those 

she did take, all seem to have 

led inevitably to her present 

unique position as an internationally 

admired "sumo artist." 

However, Lynn's art is by no 

means limited to sumo—she 

also does illustration, lithographs, 

fashion work for Vogue, 

and behind-the-scenes drawings 

of dance and theater, 

as well as three-dimensional 

pieces in media such as 

trapunto. 

She was graduated from the 

Tiller School of Art at Temple 

University, where (for recreation) 

she raced motorcycles 

and Porsches, and sang in a 

semi-professional choir. Later, 

in Hew York, she studied with 

Jack Potter, whom she con- 

Tochiisami Zeki and three 

proteges in dressing room, Kyoto tour. 

Grand Champion Wajima and his protege in the dressing room, Osaka. 

13

14 

Grand champions Wakanohana and 

Wajima during a Tokyo grand totirna 

Ozeki Kotokaze on the sumo trajp,d ing a rural our. 

I Sef 4.4,--1 

7 

siders her true mentor—her 

o-sensei, or Great Teacher, as 

the Japanese say. "What I'm 

able to do now I owe to Jack 

Potter—and hard work;' says 

Lynn. 

Lynn originally went to Japan 

in 1974 to do fashion illustration 

for a major department 

store, but one day as she was 

idly flipping the channels on 

a TV set her eye was caught by 

a gorgeous fleeting image of 

exotic colors, patterns and 

shapes; she quickly turned 

back to that channel and found 

herself watching sumo—totally 

transfixed—for the first time 

in her life. How, eight years 

later, Lynn still sees the beauty 

of sumo with unjaded wonder, 

for it was not just her eye that 

was caught that day but her 

heart and mind as well. 

Sitting in a coffee shop one 

recent rainy evening in Ryogoku 

Ozeki Takanohana receiving a massage duringthe Kyoto tour.

(the center of the sumo universe) 

Lynn herself spoke eloquently 

of her love of drawing 

sumo:"Sometimes,sitting by 

the dohyo on a freezing winter 

morning in the mountains, drawing 

sumo practice, I felt that 

if I died right then I'd have nothing 

left to regret. Other times 

when I can't quite get a line 

right I feel as though I ought 

to be sweeping floors in a luncheonette 

somewhere—but 

I'm so happy that I've been able 

to capture on paper the lines 

and the fullness that are to 

me, the beauty of sumo—and 

that is mine to keep forever. 

That's why I hate to sell my 

drawings, because each one 

represents a memory of a precious, 

fleeting moment." 

Lynn's private life, too, has 

been enriched and transformed 

by her fateful involvement with 

sumo, and it is here that the 

story begins to sound like highly 

inventive fiction. "Woman 

Artist from Long Island Meets 

High-Ranking Japanese Sumo 

Wrestler flamed Stone Tiger. 

They fall in love, get married, 

have a baby to whom they give 

the Samurai' Biblical name of 

Grand champion Wakanohana and hairdresser 

in dressing room before the fight. 

Toranosuke Joshua, and live 

happily ever after in the West 

Village (with periodic trips to 

Tokyo)." Certainly not your 

average unembroidered romantic 

resume; but when real life 

offers such wonderful true 

stories as this, who needs 

fiction? 

DEBORAH BOEHM GUSHMAH 

Young sumotori on tour, 

waiting out a typhoon in a coffee shop. 

Lynn's work can be seen at the 

Rizzoli Bookstore, NYC 

November 15th thru the 28th. 

Grand champions Kitanoumi 

and Wakanohana making signature 

cards for their fan clubs. 

THIS ARTICLE WAS SET IN ITC BENGUIAT GOTHIC. 

15

16 

Beginning with this issue of U&lc, "Man Bites Man" premieres 

as a regular feature, devoted exclusively to satiric 

art and artists from Europe and the United States. Future 

articles will focus on acerbic graphic commentators, both 

past and present, whose contributions to the art of cartooning 

and caricature have not yet been fully appreciated. 

This first feature highlights the powerful three-dimensional 

caricatures of Peter Fluck and Roger Law, which have 

appeared in numerous magazines, including those of The 

London Sunday Times and Stern, on posters and in boCFs. 

Currently, under the auspices o two production companies, 

"Tooth 'n' Claw" and "Spit'n' Image," they are creating 

an animated satiric television series for the BBC, which 

it is hoped will be aired on American cable TV. 

Not the Nine O'Clock News (TV BBC 2): "The Shap

Models for carnival 

heads for anti-National 

Front rally: Hitler, 

Tyndall, Webster 

The irreverent sculptures displayed 

here take shape in the 

most unlikely surroundings. On 

a quaint street in Cambridge, 

England, Peter Fluck and Roger 

Law are usually found sketching 

and sculpting under the high 

vaulted ceiling of their deconsecrated 

Anglican chapel—a 

narrow, seventeenth-century 

building which has been their 

studio for five years. The pulpit 

is gone, the pews have been 

removed, and now the only iconography 

on the walls is photos 

of some unrepentant souls 

whom they and other cartoonists 

have savaged in print. The Chapel, as they 

solemnly refer to it, is an ironic setting for two 

such ardent social critics as Fluck and Law to 

desanctify, demystify and expose the blemishes 

of public beings. 4.. Fluck and Law, each a 

respected illustrator in his own right, became 

partners in 1975.After a visit to New York, 

which provided Roger with more work than he 

could possibly handle, he returned home and 

asked Peter= his friend of many years—to 

join him in business. Their politics and sensibilities 

were similar, and both had been doing 

pretty much the same type of work for years. 

Their first job together was an award-winning 

series of covers of all the 1976 preconvention 

17

18 

presidential candidates for The New York 

Times Magazine (Reagan, Wallace, Carter, 

Muskie, etc.). Of their immediately successful 

union, Law says, "It is a horrible sort of 

marriage. If either of us could do better by 

ourselves, we would:' needless to say, they 

thrive on the collaborative process and 

value each other both as friends and as 

talents. "We're rarely at odds," says Law. "We 

both recognize a good idea when we see 

one. Since they don't happen very often, we 

certainly would not argue about them when 

they do:' And so, during the past seven years 

they have produced some of the most biting 

caricatures being done in Europe. They 

have also achieved two major artistic feats 

outside of satire, having completely illustrated, 

with 3-D models, Charles Dickens' 

A Christmas Carol (published in England 

and in the United States) and a still to be 

published Treasure Island. 

Fluck and Law studied together at 

the Cambridge School of Art under the 

tutelage of Paul Hogarth. He introduced 

them to the conceits of Gilray, the British 

caricature tradition, and the German 

Expressionists, all of which were seminal 

in their development. Both graduated art 

school and entered the marketplace at the 

same time. Fortuitously they came of age 

in the early sixties amidst a long-overdue 

rebirth of satire spawned by the comic 

innovators Peter Cook and Dudley Moore 

(whose Beyond the Fringe had begun as 

"university footlight satire" and spread to 

the West End). Discovering Lenny Bruce was 

also a revelation.As Fluck recalls, "If those 

guys could getaway with it,entertain people, 

and also make a living by standing up in a 

nightclub and slagging away at the Prime 

Minister, why couldn't one do it in print?" 

Although they were competent drafts- 

men, Fluck and Law admit to creating only 

average work with pen and ink. Working in 

3-D, a process they first encountered in 

L'Assiette au Beurre (the early 20th-century 

French satiric journal), was clearly a means 

to make bolder statements and make them 

more accessible to a wider audience of 

artistically unsophisticated viewers. Photography 

was a further motivating factor. Law 

recalls: "As students we were told that magazines 

wanted illustrators. It was a lie! What 

they really wanted were courtroom sketchers 

and hacks who could go into Chinese gam- 

bling clubs after the first three photographers

had their cameras busted and get that 

edition's pictures by sketching from memory. 

Rather than fight it, we came up with a way 

of using photography." Muck adds, "It is 

also easier to achieve a great deal more 

with photography, instantly, than you can 

with a drawing or a painting. There are 

many theatrical effects such as flames and 

masses of color that neither of us could 

hope to draw:' 

John Lawrence-Jones, their photographer-collaborator 

of many years, painstakingly 

achieves these all-important cinematic 

effects in shooting sessions often lasting 

24 hours at a stretch. The time allowed for 

building a "little-larger-than-life-size" piece 

is usually ten days. This includes sketching 

the caricature from photographs, drawing 

up a shooting plan, sculpting the plasticene 

`models, making the clothes ("They are usually 

pinned together, rather than tailored;' 

says Muck), constructing the furniture, props 

and backgrounds. Altogether, an arduous 

but pleasurable task for the boys, who often 

end a workday in the local pub cursing their 

various art directors. 

Although Muck and Law are commissioned 

to do illustrations (Roger once constructed 

replicas of the entire British court 

system for The London Sunday Times), and 

have done advertising jobs from time to 

time, they prefer to do political and social 

caricatures: 'Although satire doesn't relieve 

us of whatever anger we may have;' says 

Law, "it is a privilege to be able to do it." 

Theirs is a fervent belief, since unlike satiric 

artists who exclusively do pen or pencil 

renderings, Muck and Law require commissions 

to pay the large expenses incurred in 

producing a 3-D caricature. 

Political partisanship is avoided in 

their work, but the biases are clearly there. 

Muck and Law agree that anyone is fair 

"Watergate" 

game who "stands up in front of us all and 

says he can solve all our problems:' They 

admit that their process is oftimes vulgar; 

but on the other hand, they do not distort a 

figure simply for the sake of doing so.They 

respect the target's natural peculiarities, 

and this "realistic" approach is respected. 

They are often given the freedom to picture 

a particular target in any manner they believe 

appropriate. A recent poster done, showing 

Prime Minister Maggie Thatcher as a leatherclad, 

whips-and-chains mistress was not 

mere slapstick in their eyes—and obviously 

it's been accepted by their patrons, for they 

have since been asked several times to 

lampoon her in public. However, the market 

is not too large and their uncompromising 

position certainly limits the number of outlets 

available to them."We have a strong reputation;' 

says Muck, "and editors who don't 

want the work for what it is don't ring us up:' 

Once, however, they were contacted 

by an international finance magazine: "This 

was the only magazine," says Law, "that we 

turned down because of their editorial 

stance—which for the most part celebrated 

the excellence of most South American 

dictatorships." 

In terms of acceptance of satire, the 

"temperature" of England is changing, both 

politically and economically,and the vehicles 

that Muck and Law once were able to 

count on are no longer available to them. 

"We used to do most of our work for The 

London Sunday Times Magazine," says Law, 

"But now (Rupert) Murdoch owns it. With a 

Murdoch newspaper, you get a Murdoch 

editor. They don't ask for political things 

anymore. The last commission we received 

from them was for a caricature of a very 

popular comedian in this country, who is 

totally racist. We dutifully tore him to shreds. 

But I'm afraid it won't see the light of day. 

I imagine the chances of appearing in Murdoch's 

Times again are pretty slim." They 

impose a further restriction on themselves: 

they refuse to take on (and are constantly 

being asked to do so) obscure sportsmen 

or second-rate entertainers, since their production 

time does not allow them to spend 

ten days with a character simply to do 

decoration. Furthermore, they are not fond 

of "boring exercises:' 

Neither Muck nor Law harps on their 

excellent artistry. Both emphasize that the 

idea is more important than the craft. "If 

you start falling in love with your skills;' 

says Law, "rather than your statement, you'll 

end up as some sort of artist,and that 

would not do at all." Almost as an exclamation 

point to this fact, all their pieces are 

photographed and then brought back to the 

studio, where they are destroyed, or dismantled 

and recycled.This is not ideological 

but practical: "The plasticene," says Muck, 

"is just too expensive and has to be shipped 

from America. What's more, we couldn't sell 

them. Who wants a big blob of plasticene 

in their living room?" 

The ability to entertain is an essential 

part of their work, and animation, no doubt, 

will enhance this aspect of it. Muck and Law 

see that their job as satirists is to convey an 

alternate point of view, and possibly to change 

people's minds. However, they see their natural 

constituents as those already at odds 

with the system. "Caricature and satire will 

always appeal in the main to an anti-establishment 

base;' says Muck. "If they had a 

wide appeal, we'd be out of work. If everybody 

agreed with us, we wouldn't be necessary." 

however, like the jesters of old, they 

display their efforts in popular theatrical 

forms and hope to draw more people into 

their work. They have produced a satiric 

coffee pot of Ronald Reagan and a teapot 

of Margaret Thatcher, as well as Prince and 

Princess of Wales eggcups, in an attempt to 

broaden their audience. Here humorous 

distortion is a powerful tool.Given the opportunity, 

they jump at the chance to create 

theatrical presentations—an interest that 

sets them apart from other graphic satirists. 

Their most ambitious project, in terms 

of size, was the construction of two 5-foothigh 

fiberglass carnival masks of Hitler and 

Webster (leader of the British neo-Nazis) for 

an anti-National Front rally. "These were 

enormous and heavy," Law recalls. "Each 

one needed an 8-foot-tall socialist to wear 

iL It was a fantastic rally. At the end the 

organizers wanted to burn the masks ceremoniously. 

But we said 'Wait a minute, 

everyone in the first eight rows would die 

of cancer with all those chemicals going 

up in smoke: Instead they used them for 

another rally. Strangely, though, at that one 

the heads were stolen. I still can't understand 

what anyone would want with a 5-foot 

head of Hitler or Webster." 

Muck and Law have seen their 3-D 

models reproduced exclusively in a twodimensional 

format long enough. Masks are 

fun but they have only momentary impact. 

"We've gone as far as we can go with the 

stills;' says Muck.Animation is certainly the 

next step. "When we first started;' says Law, 

"it seemed that the logical thing was to 

make these figures move. But at that time the 

technology just didn't exist here:' Now it 

does, and like their spiritual cousin in the 

U.S.,3-D satirist Robert Grossman, they are 

preparing to give new action-filled life to 

their models. With some monetary support 

for the pilot, the skills of computer-savvy 

animators, and the scripting talent of Tony 

Hendra, Muck and Law will produce a weekly 

satiric extravaganza. If they take on the political 

blowhards and supercilious socialites 

in the same manner as they have done to date, 

their endeavor will raise the art of satire to 

new heights. 

Next issue: Mark Alan Stamaty. 

THIS ARTICLE WAS SET IN ITC BENGUIATe CONDENSED AND ITC MACHINE BOLD 

19

20 

Spirit of the Eagle 1982. Norwegian International Print Biennale. Norway. 

If ever there was an art form invented for 

a particular artist, it is the woodcut... and 

the artist is Carlos Llerena Aguirre. 

Here is a young man who grew up 

and studied in Peru, where his training in 

painting and drawing slavishly followed 

the European Impressionist tradition. But 

fixed in his mind, like pictures in an old 

family album, were the carved ourrelier 

designs on gourds—the folk art typical of 

the region where he once lived. Also blazing 

in his mind were powerful fantasy 

images—his own expressive visions of 

everything he saw and experienced.These 

were the, pictures he started to set down 

in a journal when he was fourteen, and 

which he continues to do'til this day. 

But his headful of images didn't connect 

with a particular medium until he saw 

a traveling exhibit of European woodcuts. 

It was then he first visualized how his 

drawings could translate into this energetic 

"carved-out-like-the-gourds" form. Still, in 

Peru, there was no opportunity to study 

printmaking seriously in any form. 

But in 197o, he arrived in the United 

States and started to explore woodcutting. 

It was not a very popular medium then 

for commercial use, but possibly by divine 

intervention, or the fact that The New 

York Times needed an illustration in a 

hurry, he sold his first woodcut. It was the 

s'.` start of a serious career in printmaking. 

On a trip to Europe in 1975, he 

visited Rembrandrs home where he saw 

the etching materials, the hand press and 

the incredibly expressive little etchings 

that convinced him of the communicative 

power of prints. Aguirre also gives credit 

to the drawings of Heinrich Kley, the 

engravings of Max Klinger and Edvard 

Munch's woodcuts for expanding his vision 

and making his work more adventurous. 

By this time he was not only intensely 

excited about the expressiveness of the 

print medium, but the possibility of reaching 

a wide audience—millions of people, 

instead of the.handful that come to gallery 

exhibitions—was exhilarating. 

And Aguirre's work has certainly 

been seen. He has illustrated a number 

of books. He is a regular contributor to 

The New York Times, The Boston Globe, 

Psychology Today, Harpet's, Esquire, 

Print Magazine, Rolling Stone, Politicks 

Magazine and other major periodicals. 

But whether he is doing commercial 

work or free-associating with a block of 

wood, his hand is unmistakable.T he 

aggressive a_ssuredness of his images, the 

magnitude of his compassion, his concern 

for mankind (and our vulnerability) 

come through loud and clear. His woodcuts, 

especially, not only proclaim his 

emotions, but all the energy and intensity 

behind them. 

Aside from participating in fine 

art exhibitions and commercial projects, 

Mr. Aguirre is also a Visiting Adjunct 

Professor at Syracuse University in New 

York and an Instructor at the School 

of Visual Arts in New York City. 

MARION MULLER

TheFantasu 

a aPassion 

Republicans & Democrats 1977. New York Times. 

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22 

Sacco and Vanzetti 1979. The Washington Post. 

Isaac Stern 1982 (color woodcut). Norwegian International Print Biennale. Norway. Grasshopper 1980. 

American Eagle I977.The Washington Post.

Blindman I977.200 Years of American I II ustration." New York Historical Society 

■■,) 

Marathon 1977. New York Times. 

= /90 6 

';" 4. I - 

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..87s s,, \ _ :,. .... ..rx ..___ _...4.... ...._,... .._____..... ...:_- ---- ....„. 

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/47 

23

24 

A souvenir of an overcast day in Vienna, 

1967. The light was so low, Nathan had 

to use high speed daylight Ektachrome 

film to get this shot. 

This S had double appeal for Simon. 

Not only does he collect letters, but also 

stars, arrows and other design symbols. 

This star-studded S was photographed 

in New York City, 1970. 

A truly unique item in Simons collection— 

a photo whose origin eludes him, although 

it is definitely New York City and of 

1967/68 vintage. 

The S of the familiar-looking stencilled 

"STOP"signs takes on new significance 

when photographed by itself. New York 

City, 1970 

IMON NATHAN'S 

LETTERGRAPHS 

Well, how did it all start 

—Simon Nathan travel- 

ing around the world 

with a sophisticated 

camera, shooting pictures 

of B's and F's and M's instead of bridges 

and fountains and mountains? 

He claims that his fixation on the 

alphabet started in his first year of 

school,when he learned the 26 letters 

that were the key to words, to sentences, 

to conversation and to friends. 

His fascination with letterforms goes 

back that far. He never learned to write 

longhand, but remains permanently 

addicted to printed characters. (Will 

the Keith Country Day School of 

Rockford, Illinois, take credit for this 

phenomenon, or will they rescind 

his diploma?) 

Be that as it may, it was back in 

1956 that Nathan started to save an 

occasional letterform that appealed to 

him for its own beauty or for the way 

it was designed. In 1964, on a visit to 

Zurich, he took his first photographs 

of letters he admired on street signs, 

billboards and such. But it really 

wasn't until 1966 that he started to 

roll—literally, roll after roll of film 

through his Nikkormat with its 55mm 

f.3.5 Micro-Nikkor lens. 

Since then he has accumulated a 

library of over 11,000 letters. As it 

turns out, Simon's lettergraphs are not 

just esthetic delights and souvenirs 

for himself, in many cases they offer 

historic documentation of places, times 

and conditions.The Underground 

Gallery in New York City has exhibited 

a fraction of his collection. The Type 

Directors Club of New York was privy 

to a presentation of 8 carousels (about 

600 slides) of his letters, which, presented 

in sequence, spelled out a message 

predicting the end of the world. 

(His art is not without practical 

applications.) 

Our limited space inhibits 

Mr. Nathan from spelling out various 

messages for our benefit. From his 

voluminous portfolio, we have merely 

selected a series of "S" pictures, 

photographed in assorted locations 

throughout the world. We thought the 

"S" was a splendidly suitable sample 

for showing the sensitive and sophisticated 

sensibility of someone named 

Simon. MARION MULLER 

While on location in Salt Lake City, Utah, 

working on a movie for United Artists, 

Simon shot this S off the side of a farm 

panel truck. 1967 

A white neon S from the word "casino" 

photographed, appropriately, in Las 

Vegas, Nevada, c. 1970.

A sample from Simon's collection of 

"Americana." This red and white S on blue 

background was shot in Cincinnati, 1969. 

Memento of the 8 days Simon spent in 

Rome waiting for a visa to the US.S.R. 

This black-and-white S was photographed 

in 1969 with Kodachrome. 

An excerpt from a produce crate sitting 

on a sidewalk in Amsterdam. Note the 

Dutch words beneath the S.1969. 

A 

A common sight in vigilant neighborhoods 

—metal security gates screen off windows 

and doors of shops at night, and 

routine letterforms take on new configurations. 

New York City, 1975 

A toy shop window with the last letter of 

"Toys"interacting with a display of 

model aircraft kits. New York City, 1972. 

Shot off the door of a truck parked on 

a New York City street, Simon especially 

likes the intrusion of the hardware, which 

he considers to be of special significance. 

Old style signage with incandescent 

light bulbs that go on-and-off still in use 

in long-established neighborhoods. 

Photographed on the Lower East Side, 

New York City, 1975 

The last window in a series of five, advertising 

B-o-o-K-s,photographed in Union 

Square, an area and environs noted for 

its concentration of book stores. New York 

City, 1975 

THIS ARTICLE WAS SET IN ITC CUSHING' 

25

26 

Hooker's 

Hi-Jinks 

Judging from the spirit of this 

alphabet and a run-through 

of her activities, Ms. D. Hooker 

has energy and imagination 

to burn. She lives in Santa Cruz, 

California, but also maintains 

homes in New Mexico and 

old Mexico. She "survives:' she 

says, by doing some graphics 

and producing a line of clothing 

called "hookers."It includes 

everything from T-shirts to silk 

dresses with bold painted 

images on them. She has also 

recently illustrated a book, 

On Becoming Human, by Dr: 

Nancy Tanner; published in 

1981 by Cambridge University 

Press, N.Y.C. But where her 

heart is really at is in her 

painting. She works with acrylics, 

inks, lettering and gold 

glazes on glass. Hooker doesn't 

seem to be hung up on anything 

but hard work. M.M.

Cat owners are notorious 

for endowing their pets with 

superior powers. But have you 

ever known cats to smile and 

disport themselves so agreeably 

as Jill Timenbaum'sfeline 

creations? Her Catphabet 

was inspired by, and is something 

of a memorial to, her two 

loving Siamese cats, PThanny 

and Zooey. When Zooey died 

of natural causes, Franny 

followed soon after of a broken 

heart. It is a touching story 

and a charming alphabet. 

From now on, we'll believe 

everything cat owners tell us. 

Jill nmenbaum earned an 

M.A. in Publication Design; 

she attended the University of 

Baltimore and the Maryland 

Institute of Art after completing 

her B.A. degree in studio art 

at the Oneonta campus of SU1VY 

She is currently employed 

as assistant art director in an 

advertising studio in Georgetown, 

Washington, D.C. M.M. 

Catphabet 

NIP 

'v i ew 

THIS ARTICLE WAS SET IN ITC BOOKMAN. 

27

28 

coins 

A WORD SEARCH BY JULIET TRAVISON

How to play: Find and encircle the international currencies 

appearing on the right. They appear vertically, 

horizontally, diagonally and even backwards. Don't 

cross letters out—they may be used again as part of 

another name! 

Here is a sample to start you off. 

While these proper nouns may be spelled differently 

in other languages, please follow our English 

versions. 

Answer on Page 76. 

N MKCL I BRATTAAD 

EZOLOTN I KKYNN I 

WSBBOLSRNPKU I R 

P OOENEOA I EORKH 

ERAVNNBNTPROAE 

N GWE EODQOL E K TM 

N GULTRUMTEYN 1 B 

YLIRAAENSKELCA 

MFTCRT I I FCLHLL 

D OHTHRERG I OANB 

N MEAONASENT IMO 

ARBFENEMEAYA 1 A 

RMEDCTEHYPRRNC 

R 1 LOHRCKEKESEN 

EUYAYSH 1 LL I NGM 

G OLAOAANLRTENB 

UELRLTLIAIRRAI 

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Le theme est: pieces de monnaie et papier 

—monnaie. Un jeu de mots de Juliet Travison. 

Entourez d'un cercle les noms dont la 

liste figure ci-contre,a droite.lls sont disposes 

verticalement,horizontalement, 

diagonalement et meme inversement. Ne 

barrez aucune lettre—vous pourriez en 

avoir besoin pour un autre nom! 

Bien entendu,de toutes les orthographes 

possib/es, c'est l'anglaise qu'il 

faut retenir. 

Nous avons simule un exemple pour 

vous mettre sur la voie. 

La solution est en page 76. 

Miinzen und Papiergeld Ein Wortsuchratsel 

von Juliet Travison. 

So lest man dieses Ratsel: Sie mussen 

die rechts angefahrten Namen internationaler 

Wahrungen finden und umkreisen. 

Diese kOnnen senkrecht,waagerecht,diagonal 

und sogar rackwarts vorkommen. 

Streichen sie keine Buchstaben aus—sie 

konnten als Tell eines anderen Namens 

gebraucht werden. 

Das Beispiel zeigt,wie man die L6sung 

des Ratsels beginnt. 

Obwohl die Wahrungsnamen in anderen 

Sprachen unterschiedlich geschrieben 

werden mOgen,halten Sie sich bitte an 

die englische Schreibweise. 

Auflosung auf Seite 76. 

ATT 

BAHT 

BALBOA 

BAN 

BAT 

BATZ EN 

BOLIVAR 

CENT 

CENTAVO 

CENTIME 

CHON 

COLON 

CORDOBA 

DIME 

DINAR 

DIRHAM 

DIRHEM 

DRACHMA 

ESCUDO 

FIL 

FILLER 

FORINT 

FRANC 

GOURDE 

GROSCHEN 

GROSZ 

GUINEA 

GULDEN 

HALALA 

HALF DOLLAR 

KINA 

KOBO 

KORUNA 

KRONA 

KRONE 

KRUGERRAND 

KWACHA 

KYAT 

LEK 

LEMPIRA 

LEV 

LIBRA 

LILANGENI 

LIRA 

MARK 

MARKKA 

MIL 

MILLIEME 

NEW PENNY 

NGULTRUM 

NGWEE 

NICKEL 

OBAN 

OBOL 

ORE 

OUGUIYA 

PENNI 

PENNY 

PESETA 

PESEWA 

PESO 

PFENNIG 

PIASTRE 

PICE 

POUND 

PUL 

PYA 

QUARTER 

QUETZAL 

RAND 

REAL 

RIN 

RIYAL 

RUPEE 

RYAL 

SALUNG 

SATANG 

SCHILLING 

SEN 

SENE 

SENTIMO 

SHILLING 

SOL 

SOVEREIGN 

STOTI N KA 

TALA 

TAMBALA 

THALER 

THEBE 

TO EA 

WON 

YEN 

YUAN 

ZLOTY 

ZOLOTNIK 

Photographs of coins from The Art of Coins and Their Photography" by Gerald Hoberman, 

published by Harry N. Abrams,Inc.,New York, in association with Spink & Son Ltd,London. 

Note: Photographs of famous composers which appeared in Vo/.9,No.2 were from 

"Great Composers in Historic Photographs"C 1981 by Dover Publications, Inc., New York. 

THIS PAGE WAS SET IN ITC FRANKLIN GOTHIC.AND ITC GORILLA' 

29

30 

ITC New Baskerville Roman, Semi Bold, Bold, and Black weights with the corresponding 

italics are new typefaces from ITC. Small caps are available in the Roman and Semi Bold 

weights, and oldstyle figures have been created for all weights in both roman and italic 

designs. Only licensed ITC Subscribers are authorized to reproduce, manufacture, and 

offer for sale these and other ITC typefaces shown in this issue. This license is your guarantee 

of authenticity: Ca UCL_ED lTNes 

Basker 

Vffie

These new typefaces will be 

available to the public on or after 

October 15, 1982, 

depending on each manufacturer's 

release schedule. 

WHAT'S NEW FROM ITC 

ITC New Baskerville is a revival typeface family 

based on Baskerville, the beautiful workhorse. 

Two seemingly contradictory terms, and yet 

Baskerville is both: accepted as a masterpiece 

of typeface design, and one of the world's most 

widely used typefaces. If the original typeface 

designs created by John Baskerville in 1762 had 

any shortcoming, it was that they were not 

released as a full typeface family; only a roman 

and italic were issued. ++ From time to time, 

efforts to redesign and upgrade Baskerville 

have been attempted, but no complete family 

capturing the beauty and power of the original 

materialized. ++ In 1978, Mergenthaler Linotype 

Company released a revised and updated 

version of Baskerville that was a faithful interpretation 

of the first Baskerville design, and 

carried three additional weights with corresponding 

italics. For the first time, the beauty 

and grace of Baskerville was combined with 

the practicality of a broad range of typeface 

weights. Now, through a licensing agreement, 

ITC is making this versatile and well integrated 

typeface family available to all ITC Subscribers. 

31

ITC New Baskerville Roman 

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34 

ITC NEW BASKERVILLETM 

ROMAN 

Excellence in typography is the result of nothing more than an 

attitude. Its appeal comes from the understanding used in its pl 

arming: the designer must care. In contemporary advertising t 

he perfect integration of design elements often demands unort 

hodox typography. It may require the use of compact spacing 

minus leading, unusual sizes and weights; whatever is needed t 

o improve appearance and impact. Stating specific principles o 

r guides on the subject of typography is difficult because the pri 

6 POINT 

Excellence in typography is the result of nothing more 

than an attitude. Its appeal comes from the understan 

ding used in its planning; the designer must care. In c 

ontemporary advertising the perfect integration of d 

esign elements often demands unorthodox typograp 

hy. It may require the use of compact spacing, minus 

leading, unusual sizes and weights; whatever is needed 

to improve appearance and impact. Stating specific pr 

7 POINT 

Excellence in typography is the result of nothin 

g more than an attitude. Its appeal comes from 

the understanding used in its planning; the de 

signer must care. In contemporary advertising t 

he perfect integration of design elements often 

demands unorthodox typography. It may requi 

re the use of compact spacing, minus leading, u 

nusual sizes and weights; whatever is needed to 

8 POINT 

Excellence in typography is the result of n 

othing more than an attitude. Its appeal c 

omes from the understanding used in its p 

lanning; the designer must care. In contem 

porary advertising the perfect integration 

of design elements often demands unorth 

odox typography. It may require the use of 

compact spacing, minus leading, unusual s 

9 POINT 

Excellence in typography is the result 

of nothing more than an attitude. Its a 

ppeal comes from the understanding 

used in its planning; the designer mus 

t care. In contemporary advertising th 

e perfect integration of design eleme 

nts often demands unorthodox typog 

raphy. It may require the use of comp 

10 POINT 

Excellence in typography is the res 

ult of nothing more than an attitu 

de. Its appeal comes from the und 

erstanding used in its planning; th 

e designer must care. In contempo 

rary advertising the perfect integra 

tion of design elements often dem 

ands unorthodox typography. It m 

... 11 POINT 

Excellence in typography is the 

result of nothing more than an 

attitude. Its appeal comes from 

the understanding used in its pl 

anning; the designer must care 

In contemporary advertising the 

perfect integration of design ele 

ments often demands unorthod 

12 POINT 

Excellence in typography is 

the result of nothing more t 

han an attitude. Its appeal c 

omes from the understandi 

ng used in its planning; the 

designer must care. In cont 

emporary advertising the pe 

rfect integration of design e 

14 POINT 

SEMI BOLD 


attitude. Its appeal comes from the understanding used in its p 

lanning; the designer must care. In contemporary advertising 

the perfect integration of design elements often demands uno 

rthodox typography. It may require the use of compact spacin 

g, minus leading, unusual sizes and weights; whatever is neede 

d to improve appearance and impact. Stating specific principl 

es or guides on the subject of typography is difficult because th 

Excellence in typography is the result of nothing mor 

e than an attitude. Its appeal comes from the understa 

nding used in its planning; the designer must care. In 

contemporary advertising the perfect integration of 

design elements often demands unorthodox typogra 

phy. It may require the use of compact spacing, minus 

leading, unusual sizes and weights; whatever is neede 

d to improve appearance and impact. Stating specific 

Excellence in typography is the result of nothi 

ng more than an attitude. Its appeal comes fro 

m the understanding used in its planning; the 

designer must care. In contemporary advertisi 

ng the perfect integration of design elements o 

ften demands unorthodox typography. It may 

require the use of compact spacing, minus lead 

ing, unusual sizes and weights; whatever is nee 

Excellence in typography is the result of 

nothing more than an attitude. Its appeal 

comes from the understanding used in it 

s planning; the designer must care. In con 

temporary advertising the perfect integra 

Lion of design elements often demands u 

northodox typography. It may require th 

e use of compact spacing, minus leading 


of nothing more than an attitude. Its 

appeal comes from the understandin 

g used in its planning; the designer m 

ust care. In contemporary advertisin 

g the perfect integration of design ele 

ments often demands unorthodox ty 

pography. It may require the use of co 

Excellence in typography is the re 

suit of nothing more than an attit 

ude. Its appeal comes from the un 

derstanding used in its planning; 

the designer must care. In contemp 

orary advertising the perfect integ 

ration of design elements often de 

mands unorthodox typography. I 

Excellence in typography is th 

e result of nothing more than a 

n attitude. Its appeal comes fro 

m the understanding used in it 

s planning; the designer must c 

are. In contemporary advertisi 

ng the perfect integration of de 

sign elements often demands u 

Excellence in typography i 

s the result of nothing mor 

e than an attitude. Its appe 

al comes from the underst 

anding used in its plannin 

g; the designer must care. I 

n contemporary advertising 

the perfect integration of de 

BOLD 


attitude. Its appeal comes from the understanding used in its p 

lanning; the designer must care. In contemporary advertising 

the perfect integration of design elements often demands uno 

rthodox typography. It may require the use of compact spacin 

g, minus leading, unusual sizes and weights; whatever is neede 

d to improve appearance and impact. Stating specific princi 

pies or guides on the subject of typography is difficult because 

Excellence in typography is the result of nothing mor 

e than an attitude. Its appeal comes from the understa 

nding used in its planning; the designer must care. In 

contemporary advertising the perfect integration of 

design elements often demands unorthodox typogra 

phy. It may require the use of compact spacing, minus 

leading, unusual sizes and weights; whatever is neede 

d to improve appearance and impact. Stating specific 

Excellence in typography is the result of nothi 


m the understanding used in its planning; the d 

esigner must care. In contemporary advertisin 

g the perfect integration of design elements of 

ten demands unorthodox typography. It may r 

equire the use of compact spacing, minus lead 

ing, unusual sizes and weights; whatever is nee 


nothing more than an attitude. Its appeal 


s planning; the designer must care. In con 

temporary advertising the perfect integr 

ation of design elements often demands 

unorthodox typography. It may require t 

he use of compact spacing, minus leadin 


of nothing more than an attitude. Its a 

ppeal comes from the understanding 

used in its planning; the designer mu 

st care. In contemporary advertising 

the perfect integration of design ele 

ments often demands unorthodox ty 

pography. It may require the use of c 


suit of nothing more than an attitu 

de. Its appeal comes from the und 

erstanding used in its planning; t 

he designer must care. In contemp 

orary advertising the perfect inte 

gration of design elements often d 

emands unorthodox typography. It 




m the understanding used in it 

s planning; the designer must c 

are. In contemporary advertisi 

ng the perfect integration of de 



s the result of nothing mor 

e than an attitude. Its appe 

al comes from the understa 

nding used in its planning; 

the designer must care. In 

contemporary advertising 

the perfect integration of d 

BLACK 

Excellence in typography is the result of nothing more than 

an attitude. Its appeal comes from the understanding used 

in its planning; the designer must care. In contemporary a 

dvertising the perfect integration of design elements often 

demands unorthodox typography. It may require the use o 

f compact spacing, minus leading, unusual sizes and weigh 

ts; whatever is needed to improve appearance and impact 

Stating specific principles or guides on the subject of typ 

Excellence in typography is the result of nothing 

more than an attitude. Its appeal comes from th 

e understanding used in its planning; the design 

er must care. In contemporary advertising the pe 

rfect integration of design elements often dema 

nds unorthodox typography. It may require the 

use of compact spacing, minus leading, unusual 

sizes and weights; whatever is needed to improve 

Excellence in typography is the result of not 

hing more than an attitude. Its appeal come 

s from the understanding used in its plann 

ing; the designer must care. In contempora 

ry advertising the perfect integration of des 

ign elements often demands unorthodox ty 

pography. It may require the use of compa 

ct spacing, minus leading, unusual sizes an 

Excellence in typography is the result o 

f nothing more than an attitude. Its ap 

peal comes from the understanding use 

din its planning; the designer must car 

e. In contemporary advertising the per 

fect integration of design elements oft 

en demands unorthodox typography. I 

t may require the use of compact spaci 


ult of nothing more than an attitud 

e. Its appeal comes from the unders 

tanding used in its planning; the de 

signer must care. In contemporary 

advertising the perfect integration 

of design elements often demands 

unorthodox typography. It may req 


result of nothing more than an a 

ttitude. Its appeal comes from t 

he understanding used in its pla 

nning; the designer must care. I 

n contemporary advertising the 

pet g,-.)ct integration of design ele 

ments often demands unorthod 

Excellence in typography is t 

he result of nothing more tha 

n an attitude. Its appeal come 

s from the understanding use 

d in its planning; the designe 

r must care. In contemporary 

advertising the perfect integr 

ation of design elements ofte 

Excellence in typography 

is the result of nothing m 

ore than an attitude. Its a 

ppeal comes from the un 

derstanding used in its pl 

anning; the designer mu 

st care. In contemporary 

advertising the perfect i

ITALIC SEMI BOLD ITALIC BOLD ITALIC 

Excellence in typography is the result of nothing more than an attitude 

Its appeal comes from the understanding used in its planning; the desi 

gner must care. In contemporary advertising the perfect integration of 

design elements often demands unorthodox typography. It may require 

the use ofcompact spacing, minus leading, unusual sizes and weights; 

whatever is needed to improve appearance and impact. Staling specific 

principles or guides on the subject of typography is difficult because the 

principle applying to one,* may 'soffit the next. No two jobs are iden 

6 POINT 

Excellence in typography is the result of nothing more than a 

n attitude. Its appeal comes from the understanding used in 

its planning; the designer must care. In contemporary advert 

ising the perfect integration of design elements often demands 

unorthodox typography. It may require the use ofcompact sp 

acing, minus leading, unusual sizes and weights; whatever 

is needed to improve appearance and impact. Stating specific 

principles or guides on the subject of typography is difficult be 

7 POINT 

Excellence in typography is the result of nothing more 

than an attitude. Its appeal comes from the understa 

nding used in its planning; the designer must care. I 

n contemporary advertising the perfect integration of 

design elements often demands unorthodox typography 

It may require the use of compact spacing, minus lea 

ding, unusual sizes and weights; whatever is needed 

to improve appearance and impact. Stating specific pri 

8 POINT 




signer must care. In contemporary advertising 

the perfect integration of design elements often 

demands unorthodox typography. It may requi 

re the use of compact spacing, minus leading, u 

nusual sizes and weights; whatever is needed to 

9 POINT 

Excellence in typography is the result of no 

thing more than an attitude. Its appeal co 

mes from the understanding used in its pla 

nning the designer must care. In contempo 

rary advertising the perfect integration of d 

esign elements often demands unorthodox t 

ypography. It may require the use of compa 

ct spacing, minus leading, unusual sizes a 

10 POINT 

Excellence in typography is the result o 

f nothing more than an attitude. Its ap 

peal comes from the understanding us 

ed in its planning; the designer must c 

are. In contemporary advertising the p 

erfect integration of design elements oft 


t may require the use of compact spacin 

11 POINT 

Excellence in typography is the resu 

It of nothing more than an attitude. 

Its appeal comes from the understa 

nding used in its planning; the desi 

gner must care. In contemporary ad 

vertising the perfect integration of d 

esign elements often demands unort 

hodox typography. It may require th 

12 POINT 




m the understanding used in i 

is planning; the designer Must 

care. In contemporary advertis 

ing the perfect integration of de 


14 POINT 

Excellence in typography is the result of nothingmore than an attitud 

e. Its appeal comes from the understanding used in its planning; the d 

esigner must care. In contemporary advertising the perfect integratio 

is of design elements often demands unorthodox typography. It may re 

quire the use ofcompact spacing, minus leading, unusual sizes and w 

eights; whatever is needed to improve appearance and impact. St atin 

g specific principles or guides on the subject of typography is difficult 

because the principle applying to one job may not fit the next. No two 


an attitude. Its appeal comes from the understanding lewd i 

n its planning; the designermust care. In contemporary adv 

ertising the perfect integration of design elements often dem 

ands unorthodox typography. It may require the use ofeomp 

act spacing, minus leading, unusual sizes and weights; wh 

ateveris needed to improve appearance and impact. Stating 

specific principles or guides on the subject of typography is di 

Excellence in typography is the result ofnothingmor 

e than an attitude. Its appeal comes from the under 

standing used in its planning; the designer must car 

e. In contemporary advertising the perfect integrati 

on of design elements often demands unorthodox typ 

ography. It may require the use of compact spacing m 

inns leading unusual sizes and weights; whatever is 

needed to improve appearance and impact. Stating 




signer must care. In contemporary advertisin 

g the perfect integration of design elements ofte 

n demands unorthodox typography. It may re 

quire the use of compact spacing, minus leadi 

ng, unusual sizes and weights; whatever is ne 

Excellence in typography is the result of n 

othing more than an attitude. Its appeal c 

omes from the understanding used in its p 

Tanning; the designer must care. In conte 

mporary advertising the perfect integrati 

on of design elements often demands unor 

thodox typography. It may require the use 

of compact spacing, minus leading, unus 


nothing more than an attitude. Its ap 

peal comes from the understanding us 

ed in its planning; the designer must c 

are. In contemporary advertising the p 

erfect integration of design elements oft 


t may require the use of compact sizes a 



de. Its appeal comes from the under 

standing used in its planning; the 

designer must care. In contempora 

ry advertising the perfect integrati 

on of design elements often deman 

ds unorthodox typography. It may 


result ofnothing more than an 


the understanding used in its 

planning; the designer must c 

are. In contemporary advertis 

ing the perfect integration of d 

esign elements often demands 

Excellence in typography lathe result of more than anattitud 

e. Its appeal comes from the understanding used in its planning; the 

designer must care. In contemporary advertisingtheperfect integrat 

ion ofdesign elements often demands unorthodoxtypography. It may 

require the use of compact spacing, minus leading, unusualsixes and 

weights; whatever is needed to improve appearance and impact. Sta 

ting specific principles or guides on the subject of typography is (lift 

ult because the principle applying to one job may not fit the next. No 

Excellence in typography is the result of nothing more tha 

n an attitude. Its appeal comes from the understandingus 

edinitsplanning; the designermustcare. In contemporary 

advertising the perfect integration ofdesign elements often 

demands unorthodox typography. It may require the use of 

compactspacing, minus leading, unusualsizesandweight 

s; whatever is needed to improve appearance and impact 

Statingspecificprinciples or guides on the subject oftypog 

Excellence in typography is the result ofnothing mo 

re than an attitude. Its appeal comes from the under 

standing used in its planning; the designer must ca 

re. In contemporary advertising the perfect integra 

tion of design elements often demands unorthodox t 

ypography. It may require the use ofcompactspacin 

g, minus leading, unusual sizes and weights; what 

ever is needed to improve appearance and impact 

Excellence in typography is the result ofnothi 


m the understanding used in its planning; the 

designer must care. In contemporary advertis 

ing the perfect integration of design elements 

often demands unorthodox typography. It ma 

y require the use of compact spacing; minus le 

ading, unusual sizes and weights; whatever 

Excellence in typography is the result ofn 

othing more than an attitude. Its appeal 


s planning; the designer must care. In co 

ntemporary advertising the perfect integ 

ration ofdesign elements often demands u 

northodox typography. It may require th 

e use ofcompactspacing, minus leading, u 







ments often demands unorthodox typ 

ography. It may require the use of co 



de. Its appeal comes from the unde 

rstanding used in its planning; the 

designer must care. In contempor 

ary advertising the perfect integr 

ation of design elements often de 

mands unorthodox typography. It 

Excellence in typography is t 

he result of nothing more tha 

n an attitude. Its appeal corn 

es from the understanding us 

ed in its planning; the design 

er must care. In contemporar 

y advertising the perfect inte 

gration of design elements oft 

BLACK ITALIC 


an attitude. Its appeal comes from the understanding used 

in its planning; the designer must care. In contemporary a 

dvertising the perfect integration ofdesign elements often d 

emands unorthodox typography. It may require the use of c 

ompact spacing, minus leading, anis:rust sixes and weights; 

whatever is needed to improve appearance and impact. Sta 

ting specific principles or guides on the subject oftypograph 

Excellence in typography is the result ofnothing mo 

re than an attitude. Its appeal comes from the unde 

rstanding used in its planning; the designer must c 

are. In contemporary advertising the perfect integ 

ration of design elements often demands unorthod 

ox typography. It may require the use of compact sp 

acing, minus leading, unusual sizes and weights; w 

hatever is needed to improve appearance and impa 

Excellence in typography is the result of noth 

ing more than an attitude. Its appeal comes f 

rom the understanding used in its planning; t 

he designer must care. In contemporary adv 

ertising the perfect integration of design ele 

ments often demands unorthodox typograph 

y. It may require the use of compact spacing 

minus leading, unusual sizes and weights; w 

Excellence in typography is the result ofn 

othing more than an attitude. Its appeal 


s planning; the designer must care. In co 

ntemporary advertising the perfect integ 

ration of design elements often demands 

unorthodox typography. It may require t 

he use of compact spacing, minus leadin 







ments often demands unorthodox typ 

ography. It may require the use of co 


suit ofnothing more than an attitu 

de. Its appeal comes from the and 

erstanding used in its planning; t 

he designer must care. In contem 

porary advertising the perfect int 

egration of design elements often 

demands unorthodox typography 


result of nothing more than an 


the understanding used in its p 

lanning; the designer must car 

e. In contemporary advertisin 

g the perfect integration of desi 

gn elements often demands un 


s the result ofnothing more 

than an attitude. Its appea 

comesfrom the understan 

ding used in its planning; t 

he designer must care. In c 

ontemporary advertising 

the perfect integration ofd

36 

ome years ago, the wonder- 

ful, witty American play- 

wright, George S. Kaufman, 

was invited to the country 

estate of a friend. Surveying 

the voluptuous flowers in 

their tidy beds, the sculptured 

shrubs and endless vistas of plush 

lawns, he proclaimed the immortal 

words ..."It's what God would do if He 

had money." 

Sitting before a monitor at the 

Computer Graphics Lab of NYIT recently, 

watching a steady stream of 

graphic fireworks exploding on the 

screen, those words — with variation — 

rang through my head ..."It's what 

humans would do if they had time " 

Time, it seems, is the major difference 

between producing graphics by 

"hand" or by computer. For all its mindboggling 

stunts, there is nothing magi 

rial about the computer. There is nothing 

a designer or artist can do via the computer 

that he can't do at a drawing board 

with conventional tools. But with the 

computer, days — even weeks — of experiments, 

renderings, revises and retouching 

can be reduced to hours — even 

minutes and seconds. Not to mention 

that you can say goodbye to tons of 

supplies — tracing pads, illustration 

boards, rubber cement, stats, paints, 

pencils and all the paraphernalia of 

a studio. 

It's true, of course, that even technological 

titans get carried away watching 

the computer perform, and are ready 

to call it "magical." The very scientists 

at CGL who devised the software program 

refer to the electronic drawing 

stylus as a "wand" implying that it's 

invested with supernatural powers. But 

it misrepresents facts to attribute any 

creative powers to the computer. All 

the creativity is in the engineers who 

program the computer and the artists 

who manipulate it. 'lb set the record 

straight, one young engineer admonished, 

"Remember, the computer just 

connects the dots." 

Those five little 

IT JUST 

CONNECTS 

THE DOTS 

words are the simplest 

explanation of 

how the computer 

works. They also sum 

up the relationship 

between the artist and his new tool and 

should, once and for all, calm the nerves 

of graphics people who are afraid the 

computer is dehumanizing. On the contrary; 

far from stultifying artists and 

designers, the options and speed it provides 

are mind-expanding Like the 

abstract expressionist painters who 

thrived on drips and accidents to nourish 

their vision, computer artists have 

a ball doodling with options and improvising, 

like jazz musicians, at the controls. 

The instant visuals and variations 

take a creative person far beyond the 

confines of the conscious imagination. 

It is true, the computer is just another 

tool — but what a tool! 

One of the lovable 

THE 

NEW TOOL 

aspects of the computer, 

for all its complexity, 

is that you 

do not have to know 

a nut from a bolt to 

become very proficient at using it. It is 

also reassuring to know that a whole 

army of engineers is available to hold 

CONNECTING 

DOTS 

OR 

GRAPHICS BY COMPUTER 

your hand when technical advice is 

needed in executing a project. But in 

actual fact, artists at CGL who had never 

sat down at a computer setup before 

in their lives, were producing work, very 

comfortably, in a matter of days.Another 

surprise is that there seems to be no 

generation gap in acceptance of this 

new tool. Artists with many years of 

experience in conventional graphics 

have embraced the computer as enthusiastically 

as the new crop of graphic 

designers fresh out of school. Perhaps 

this should not surprise us at all. Who 

should know better than those artists 

experienced in conventional graphics, 

the liberating joys of the computer? 

Although there's no need for designers 

and artists to understand the 

fine points of computer engineering, 

you cannot be exposed to the equipment 

without absorbing the basic vocabulary 

'and some knowledge of how it works. 

The equipment, called hardware, and 

the system, or set of instructions for 

using it, called the software program, 

are generally similar throughout the 

industry. But the systems we are describing 

here are those in use at the Computer 

Graphics Lab, where all the artwork 

in this color section was produced. 

The Graphics Tablet 

HOW IT 

WORKS: THE 

HARDWARE 

and Electronic 

Stylus are the drawing 

tools. The tablet 

is a smooth surface 

covering an elec- 

tronic grid. The stylus, much like a ballpoint 

pen, is hooked electronically to 

the tablet. Wherever the stylus touches 

the tablet, it sets off an electronic impulse, 

which shows up on a viewing 

screen as a tiny dot of light, called a 

cursor. Any mark made on the tablet — 

a line, a circle, a figure, a complicated 

abstract squiggle — though unseen on 

the tablet, is converted to a series of 

electronic impulses and then translated 

to a series of connected dots on the 

viewing screen, called the Video Display 

'Ibrminal, or on the Color Monitor. 

The Video Display Terminal and 

Keyboard.. The viewing screen, much 

like a TV screen, displays the list of 

options available to the artist. The list, 

called a menu, gives a choice of size, of 

medium, the width of the brush, color 

or tint, whether the image should be 

flopped, enlarged, reduced, blurred, compressed, 

repeated, erased, etc. The operator 

moves the electronic stylus across 

the tablet until the cursor, following 

those movements on the screen, arrives 

at the desired option. The stylus is then 

pressed down on the spot to record the 

choice. The keyboard, like an ordinary 

typewriter, is used for interpolating text, 

titles or labeling work for filing purposes. 

The Color TV Monitor is a standard 

cathode ray tube like the one used in 

TV sets. It becomes the artist's equivalent 

of a layout pad, illustration board 

or canvas. The artist can view work 

in progress, call up finished work from 

the computer memory, rearrange, 

retouch, manipulate artwork and view 

the results here. 

In our last issue, we described some of the goings-on at 

the Computer Graphics Lab of the New York Institute of 

Technology, with special attention to new techniques in 

animation. In this issue, we're taking advantage of our 

color section to show you some of the joys of manipulating 

and painting with the computer, using the CGL Images 

system specifically. You'll also see that while the computer 

is capable of generating psychedelic fantasies, it 

can behave quite sedately as well, with stunning fidelity 

to traditional techniques. 

Scanner and Input Equipment. 

This electronic device recognizes the 

absence or presence of light and gives 

the designer or artist the opportunity 

to feed in a variety of images other 

than those generated on the computer. 

Photographs, film, art reproductions, 

typography, and all manner of graphics 

can be introduced and manipulated. 

'lypically, standard photographs and type 

fonts can be scanned, retouched, coloredited, 

replicated and what-have-you. 

Output Devices. Finished computer 

work can be reproduced for distribution 

in the form of film, 35mm 

slides, Polaroid prints, videotapes and 

paper copies in color or monochrome. 

Pictures are also available for immediate 

television broadcast, directly from 

the computer memory. 

Processor, Framestore and Disk 

Storage.These are all behind-the-scenes 

units which record and store anything 

generated or fed into the computer — 

finished projects or parts of projects to 

be assembled at a later time — if so instructed 

by the operator. The capacity 

for storing work, compared with conventional 

filing systems for artwork, is 

almost incomprehensible. In some 

cases, thousands of images can be stored 

on the surface of a single disk. 

WHAT IT 

DOES: THE 

SOFTWARE 

PROGRAM 

The CGL ink system 

for producing graphics 

is called Images. 

With the Images 

system, there seems 

to be very little an 

artist or designer might desire to do that 

could not be accomplished with this program. 

For instance, it is possible to: 

► Simulate conventional media such as 

pencil, pen and ink, pastel, acrylic, oil 

and watercolor paints 

> Reproduce every geometric figure — a 

point, a line, a circle, a square, a cube, 

a sphere, a triangle, etc. 

> Create a line or brush mark of any 

width and any solid color 

w) Paint with a multi-colored or gradedcolor 

brush 

6+ Create an airbrush effect 

> Simulate wet acrylic paint 

4.> Change a color while retaining 

lightness 

-> Change lightness while retaining a 

given color 

> Create and paint with a contrived 

brush (make any desired mark repeatedly, 

even 3-dimensional strokes 

with such shapes as cones, spheres or 

cylinders) 

.+De-focus or blur edges for soft effects 

►>Add text — letters, numbers, symbols 

can be introduced, edited and manipulated 

to create new fonts, design formats 

and logos 

.)Enlarge any detail of a drawing, painting 

or letterform for correction or 

retouching 

>Animate 2- and 3-dimensional images, 

graphs, maps, charts and text 

> Experiment with color schemes 

through the Full Color Option which 

produces different colors for every picture 

element simultaneously. The color 

range — with 256 choices of saturation 

and value for each hue — runs to the 

millions. 

Another virtue of the computer, less 

spectacular but highly desirable, is the 

option it gives the designer to keep a running 

history of a project. How often has 

a piece of artwork been completed, but 

that the question arises: "Was it better at 

an earlier stage?" The computer memory 

makes it possible to hang on to every 

phase of a work-in-progress for evaluation 

and review. 

The incredible flexibility the computer 

provides in creating advertising 

layouts, visualizing commercials, producing 

graphics for print and TV, for 

retouching, manipulating photographs, 

making educational and medical films, 

animation, architectural graphics and 

presentations of every dimension, is 

staggering. Studios specializing in computer 

graphics are already flourishing, 

and much that we see in the way of 

news graphics and station I.D.'s on television 

is computer-generated. 

While, as observers, we are bowled 

over by the speed and ability of the computer 

to mimic conventional techniques, 

experimental artists and engineers 

keep plugging away and probing for the 

unique potential of the computer. The 

Computer Graphics Lab at NYIT, a research 

and development center, and also 

a production studio for a number of commercial 

projects, has provided us with 

a variety of work produced there. Some 

pieces are entirely abstract, fulfilling 

the artists' free-floating fantasies. Some 

represent engineering feats. Some are 

solidly commercial, produced to meet 

a client's needs. But above all, the computer's 

role in these works should be 

understood realistically. The computer 

is not an art form... not a creative robot 

...but an instrument. Like a piano, with 

all its keys, strings and a sound box, it 

doesn't make beautiful music until an 

artist sits down and plays. 

Marion Muller

Color Editing 

This color-drenched Statue of Liberty 

illustrates how the computer can be 

used to color edit conventional artwork, 

photographs and other external 

graphics. Here, a black-and-white photograph 

was used as a starting point. It 

was scanned into the computer, digitized 

and translated back to a black-and-white 

image on the monitor. For painting 

purposes, the artist — through the computer 

— reduced the grey levels from 256 

to a far more manageable number. The 

color was applied in a "tinting" process; 

the color tones were washed over the 

grey tones of the photo to retain the 

contours and 3-dimensional effect. For 

textural effects, the artist used a variety 

of "brushes" — dry brush, a circular rolling 

brush, a wash effect and a pastel 

chalk brush — all chosen, along with the 

colors, from the menu and color map 

displayed on the video terminal. In addition 

to the color scheme shown, a touch 

of the electronic stylus could call up 

the CGL Full Color option, which would 

produce a continuous display of color 

variations for each element of the pic- 

ture simultaneously. Artist: Becky Allen 

37

38 

Computer-generated art... 

This 3-dimensional head was produced 

without benefit of a photograph, a drawing, 

or any other pre-existing graphic form. It 

was generated completely by computer. 'lb 

do this, the entire surface of a form must 

be conceived as a network of connected 

polygons. Each of these small geometric 

divisions is then assigned a "light"value, 

depending on its relative location on the 

form. The differing light values of adjacent 

polygons produce the illusion of advancing 

and receding planes, and in this way they 

describe the contours of a 3-dimensional 

image. The location of each polygon and its 

assigned light value are digitized into the 

computer, and the information is then translated 

back as a graphic image which appears 

on the monitor. 

and 

variations 

Starting with the head, which was formulated 

and generated on the computer by a 

programmer, one of the artists at CGL proceeded 

to manipulate and experiment with 

a number of computer options to achieve 

the variations shown here. 

The patterns created in this image were 

obtained by "blurring" and "smearing" 

options in the paint program. 'lb understand 

the process, you must think of the picture 

as an amalgam of tiny pixels (picture elements) 

each having an assigned color. The 

blurring effect is achieved by averaging the 

color values of adjacent`pixels in either a 

vertical or horizontal direction. The effect is 

to soften the area involved. The smear option 

produces the look of wet paint. Another 

unusual technique, called lerping, (linear 

interpolation) permits the artist to integrate 

a transparent level of the image with 

the full color version, for an unusual veiled 

and softened effect. 

The textures achieved in this version were arrived at through manipulation of the color 

system. For every hue, the computer offers 

a complete color map — a range of 255 values 

and intensities — from which the artist 

selects the desired one. The computer also 

offers a black-and-white map in a checkerboard 

arrangement of alternating blackand-white 

squares. When the color and 

black-and-white maps were called up simultaneously, 

as in this image, the smooth metalliclike 

surface of the head was transformed 

into a more animated, granular texture.

♦ Any image can be enlarged, reduced, halved, quartered, fractioned to any quantity, 

duplicated, multiplied or blocked out by a 

command through the keyboard. In these 

variations of split and multiplied images, 

the artist also used selective vertical and horizontal 

blurring and smearing to soften certain 

areas, and another option, "filtering," to 

sharpen areas and achieve higher resolution. 

Computer-generated head by Dr. Fred Parke lbchnical Director of CGL 

Variations by artist Michael Assante 

39

40 

Color 

abstractions, 

experiments, 

manipulations 

Like a blank canvas to a traditional artist, a blank 

monitor to a computer artist can be either intimidating 

or an invitation to plunge into a joyous adventure. 

Some artists are adept at simulating traditional 

techniques on the computer. Some welcome it as an 

aid in simplifying and speeding up conventional 

processes. Others, like the artist whose work is represented 

here, see the computer as a unique tool with 

a character all its own. The work on these pages was 

created in the course of experiments with a variety 

of computer options. No pre-existing graphics were 

used. The work was solely a dialogue between the 

artist and the computer. 

One small horizontal dash was the start of this 

pattern. By cycle painting, the artist created a series 

of multicolored dashes arranged in a vertical line, 

which he chose as his "brush." Writing with this 

brush horizontally across the field, he established a 

pattern of vertical, overlapping strokes which provided 

depth and grain. 

This abstraction started with a cross-hair — two 

thin intersecting lines in the middle of the screen. 

The artist then selected the cycle paint option which 

reproduced the lines in a continuous stream of colors 

as long as he held the electronic pen pressed down 

on this option. These multi-colored bands then 

became his "brush," which he manipulated to create 

the design form. Repeating the form elsewhere in 

the frame, as he did at the bottom, is called"writing 

the brush." The strong grid lines of the pattern were 

smoothed off in some areas by horizontal blurring. 

This strong free-form pattern started with a 

vague, amorphous shape of high color value. Using 

judicious horizontal and vertical blurring, and by 

manipulating the color map to achieve high contrasts, 

the artist achieved the textural effect and 

illusion of depth.

Starting with a striped field, the artist applied 

circular and elliptical expansions to certain areas. 

This kind of distortion is achieved through instructions 

via the keyboard. Such distortions can be 

applied to any portion of the field by communicating 

the location and nature of the distortion desired. 

In the beginning, this was a single small square. 

It multiplied, via keyboard instructions, into a 

checkerboard grid. It was rounded off, distorted into 

a spherical shape and quartered, also via keyboard 

instructions. The black-and-white image was then 

washed over with selected values of red and blue. An 

intriguing aspect of the color program is that once 

the pixel value of each color in a color scheme has 

been established, the artist can experiment with 

color choices up or down the scale, and all elements 

will move in proportion to the original relationship. 

This meandering pattern started from a single 

pixel, or dot of color, used as a brush. The artist 

moved it in a circular gesture which created a curving 

line of continuous dots. He then cycle painted to 

create a multi-colored brush of parallel dotted lines, 

and with this brush he worked the undulating 

curves of this pattern. 

In this work, the artist started by drawing a series 

of thin vertical lines. Using the blurring and filtering 

processes, he broadened lines into stripes, softened 

selected stripes and sharpened others. The smear 

paint option was also employed to color wash areas. 

The transparency of the washes, like in water color, 

permits in-between color levels to show through. 

Artist: Michael Assante 

41

42 

Computer 

Expressionism 

The computer satisfies engineers in one way and artists in another. Engineers use the computer 

as a scientific tool. They feed it everything they know and are delighted when it simulates the laws 

of the physical world. Artists, on the other hand, are happy to let the computer lead them into 

unexplored territory and unpredictable visions.

These two figurative works started as straightforward tableaus of female figures. The figures were 

digitized into the computer as polygons of light (described previously). The artist then arbitrarily 

mapped patterns onto the surface of the figures, sometimes integrating with the polygons, 

sometimes with the natural forms of the bodies. He used transparent effects, distortion, patterns 

imposed on imaginary spheres surrounding the figures. Nothing was premeditated but, as in 

Abstract Expressionist art, accidents and chance effects were enthi i siastically welcomed. They were 

also evaluated and accepted or rejected by the artist who, in the end, had final control over the work. 

Artist: Duane Palyka 

43

Animated Life Saver commercial. 

Looking good enough to eat, and 

cavorting for the viewer in tantalizing 

true-to-life colors and flavors, 

these Life Saver candies were not 

the real thing... not photos of the 

realthing . nor even physical 

models of the real thing. They were 

models, completely generated on 

the computer, for an animated commercial 

shown in Canada. The 

models were even colored to look 

transparent like the candy — made 

possible by a computer paint option. 

They revolved, rotated, zoomed and 

peeled off in formation, while the 

background whirled with concentric 

rings of color, producing a psychedelic 

tunnel effect. 

Artist: Ephraim Cohen 

TV Graphics 

Commercial applications for computer graphics are limitless. The speed and flexibility with which 

layouts, storyboards, films, slides and charts and all manner of communication media can be 

developed is staggering. But especially in television, where speed, animation, novel effects and a bigh degree 

of sophistication are taken for granted, the computer is becoming a major production tool. 

News graphics. For a feature on 

crime, this artwork was all created 

directly on the computer. Computer 

drafting aids were used to create 

the lettering. The gun was drawn, 

painted — highlights and all — with 

the computer paint system, as was 

the background color. Artist: Paul )(ander 

Station I.D. This Channel 11 I.D. 

integrated conventional graphics 

with computer options. First a black 

and white stat of the Pittsburgh 

cityscape was scanned into the 

system. Then a picture of the football 

trophy and the letterforms for 

Pittsburgh City of Champions were 

also scanned in. Retouching to 

accentuate highlights on the trophy 

was done by zooming in, enlarging 

it for fine detail work, and then 

returning the corrected artwork to 

its proper position in the field. The 

graduated color in the triangle and 

background, as well as the multicolored 

striped lettering were all 

generated through the computer 

paint options. The number "11" was 

handlettered with computer draft- 

ing aids. Designer/Artist: Marc Cardamone 

THIS ARTICLE WAS SET IN ITC AMERICAN TYPEWRITER'.

C AND 

YOU NIPUTER 

BY 

CAMILA 

CHAVES 

CORTES 

Developments of Interest to Artists and Graphic Designers 

New courses in computer graphics including 

animation, media, video technology, graphic 

artists and computer graphics implementation 

were among the highlights of presentations 

at the Third Annual National Computer Graphics 

Association Conference. Similar courses will be 

featured at the 1983 conference. 

Speakers from the disciplines of computer 

graphics ranging from computer aided design, 

computer aided manufacturing to geographic 

information systems, health related fields, and 

the communications field reviewed the present 

and future of the technology explosion. Exhibitors 

from all facets of the industry displayed 

their latest hardware and software configurations. 

The Artist and the Tablet 

Of particular interest to the artist and 

graphic designer is a completely integrated hardware 

and software workstation. In the computer 

world the term "turnkey system" describes the 

type of configuration which includes everything an 

artist needs. This system is composed of an electronic 

tablet that uses a stylus. The picture the 

artist draws on the tablet with the stylus appears 

on a 19" TV screen in full color. The artist can display 

menus on the screen and from these select 

various options and drawing modes. To create 

titles, generate fonts and name pictures in the 

computer file system the artist uses a keyboard. 

Software Options 

Some of the software options allow for a 

picture to rotate, reflect, scale, create glowing 

effects and motion dynamics that appear on the 

screen in real time (as fast as they are commanded 

by the artist).Another feature offers a picture 

resolution higher than the standard TV set of 512 

lines.This involves the use of more computer 

memory, but provides a sharper, more attractive 

picture with improved detail and smoother tone. 

Film output is available with an interface to a 

digital film recorder. Video output is produced 

through an interface with a commercial videotape 

recorder. Hardcopy output on paper, monochrome 

or color, is available from an ink-jet 

or impact color plotter/printer. At the moment 

research is ongoing for producing video optical 

disks. The development of this system known as 

IMAGES (Image Manipulation Graphics 

Enhancement Systems) is a product of the 

Computer Graphics Lab, Inc. 

Artists Can Use Home Computers 

Designers and artists can now turn their 

home computer into a graphic design workstation, 

allowing for creation of effective business 

graphics in minutes.This way one can rapidly 

create high quality pie, bar and column charts, 

line graphs and text slides using up to 64 different 

colors. Graphic design data input by the 

artist on an Apple II computer can be transmitted 

over the telephone to the closest service bureau. 

The information goes into a Dicomed film recorder 

and is output as a high resolution 35mm 

color slide. This is a development of Micromedia. 

At the conference we had a chance to talk 

with Harry Marks and George Joblove, Creative 

Director and Computer Graphics System Designer, 

respectively, from the Marks & Marks animation 

and design facility in Hollywood, California. 

We were interested in how an artist gets into this 

THIS ARTICLE WAS SET IN ITC CHELTENHAM. CONDENSED AND ITC ERAS" 

type of business, how he services clients, and 

what he offers them. Excerpts from our conversations 

follow. 

CCC What does Marks & Marks do and how 

did it get started? 

HM Marks & Marks primarily does broadcast 

promotion, on-air spots and campaigns for individual 

television stations and networks. ABC is 

one of our largest clients. When we had so much 

going on at one time, program promotion and 

graphics, we formed a second company, called 

Novocom, that handles only animation. 

I was a book designer in San Francisco 

for a good number of years, with a pretty strong 

interest in film. I had a friend named Randy 

Grochoske who was an agency Creative Director. 

He left San Fl-ancisco for Hollywood to head up 

ABC's On-Air Advertising Department. Randy's a 

man of great taste and creativity, and he came to 

Los Angeles expecting to be in the haven of all 

creativity. The department he took over was 

creative in film, but not, by agency standards, 

creative in design. I was invited to come down 

and work on a typographic image for the network, 

in order to achieve some level of on-air 

uniformity. Shortly after my arrival Randy went 

back to San Francisco and I inherited the department. 

I learned about television promotion on 

the job. Because I knew very little about film 

graphics I did them somewhat differently. For the 

most part on-air promotion at all three networks 

"We give the logos and the typography textures. Neon, glass, metal, dimension, 

anything to get a 'new' look but retain the familiar logo. - 

looked and sounded a lot like old movie trailers. 

My approach was to try to make small commercials 

with better writing, design, music and editing. 

Slowly ABC began to get a reputation for graphic 

innovation in their promos. 

We began to look for different graphic 

approaches. Through all of this I had an incredible 

advantage: a patient boss. Don Foley, who 

was VP, Advertising & Promotion was totally 

supportive of all, well almost all, of my crazy 

ideas. Without that kind of support, the graphic 

changes would never have happened. For instance, 

a young man came to my office one day with 

some reels of 35mm out-takes.He'd been working 

in England for six years on the movie"2001:' 

I went nuts when I saw what he'd been doing with 

motion graphics and 3-D special effects. His 

name is Douglas Trumbull, probably the leading 

special effects director in the world today. 

I wanted to apply Doug's effects, which he 

was using on space ships, to typography. We 

worked in a very crude fashion to create what I 

believe was a breakthrough in TV graphics. Now 

practically every commercial on the air ends up 

with a streak, or a glint or a glow, but ABC really 

did it first. 

After ABC I worked for Lou Dorfsman at CBS; 

made a movie with Bob Abel, another special 

effects giant, but it was a rock and roll movie and 

ended up back at ABC. Finally I had to take the 

plunge and open my own shop. Actually Lou 

gave me the encouragement I needed to do it. 

I still owe him for that. 

CCC If a client comes to you, how do you 

approach or service him? 

JIM It depends largely on what he comes in 

with. If, for example, a broadcaster comes in with 

a logo job, chances are the logo will need some 

design work which becomes a very sensitive 

problem. Many stations don't have a design 

department, so we are dealing with the station 

manager or the sales department who have very 

definite ideas about what they should look like. 

Ideas that aren't necessarily based on any design 

principles, but maybe the need to show their 

new building or tower in the logo.We handle 

these matters with some delicacy and usually get 

through to them when we show very tight 

storyboards demonstrating how they can look on 

the air, and the ways in which we can treat their 

new mark. Or their old mark for that matter. 

CCC Treat them in conventional ways? 

HM Not exactly. For instance, ABC has a very 

distinctive mark designed by Paul Rand. Practically 

everyone is familiar with the lower case 

"abc" and we adhere carefully to the generic 

form of the mark. However, every year the network 

wants to have a new look. For 16 years that I 

know of, there have been subtle changes in the 

on-air version of the logo that the viewing public 

is probably unaware of. The same is true of CBS. 

When I went to work there, the "eye" was sacred. 

The,most one could do was change the typeface 

that said CBS within the eye. Sometimes it was 

Futura, sometimes Kabel, whatever the style was 

for the season, it appeared inside the eye, but 

you never messed with the eye! Now it's different. 

They play with the formerly sacred eye as 

much as we play with Paul Rand's abc.We give 

the logos and the typography textures. Neon, 

glass, metal, dimension, anything to get a "new" 

look but retain the familiar logo. 

CCC With the technology you have available 

to you, what can you offer a client? 

NM Any kind of animation there is. From rastergraphics 

straight out of the computer to conventional 

cel animation.We did a show opening for 

Walt Disney in which we had the conventional 

Mickey Mouse and Donald Duck turn into neon 

images. 

CCC How do you generate typographic characters? 

Do you digitize and store them? 

BM We certainly have that capability. We can 

generate a perfect replica of any typeface, and 

manipulate it in three dimensional space to our 

hearts content. But there are better tools for 

everyday electronic typography. 

We recently did all of the on-air promotion 

for the new Cable Health Network. Ivan Chermayeff 

specified Franklin Gothic for the logo; we decided 

to use it for all the superimposed titles for 

their promos. We commissioned Autographics in 

LA to digitize the face to the Chyron Iv, my 

favorite electronic typographic tool. In less than 

eight hours the entire font and all of the odd 

characters had been recreated electronically. The 

transition is truly remarkable, since the Chyron 

IV is capable of very sophisticated character 

movement, kerning, and virtually every subtlety of 

typography. Of course it helps to have someone 

as typographically sensitive as Autographics work 

on the font. I should also mention that the 

machine can display any degree of italic instantly 

...not an absolutely perfectly drawn italic true... 

but since television typography is very shortlived 

on the screen, I'll stick my neck out and say that 

it doesn't have to be perfect. In some cases it's 

better than photo-distortion. If you haven't looked 

at electronic typography in the last year, you're 

cheating yourself. It's quite remarkable, very 

clean and best of all, it's instantaneous. In the 

immediate future were going to see the ability to 

set electronic type at angles and some limited 

animation. Of course in the hands of an engineer, 

this could set television graphics back 25 

years! What I hope to see is a new area for design, 

the electronic typographer. The designer 

injected into the currently sacred area of electronic 

graphics. I'm confident that it will happen. 

If I'm wrong ... I hate to think what the screen 

will look like! 

CCC Would you please describe the 

technology that you use? 

GJ While we have begun to produce computergenerated 

animation using a raster-graphics sys- 

Continued on page 76. 

45

46 

"Say hi to my two favorite night crews. The 

one at Billy Goat's and the one at Ryder:" 

Marcus Kemp worked in Chicago for many years, then 

moved to yet another city with bad winters and a lousy football team. 

"Every art director has a favorite 'rush job' story. Here's mine. 

"At 5:00 p.m., I finished_ the layout for a full-page newspaper 

ad that had to be at the publication in NewYork the next morning. 

"At 5:01 p.m., I called Ryder 

"'there was absolutely no time for re-do's: 1 here wasrit even 

time enough for me to see the ad before it had to 

be shipped. 

"Ryder set the type' 1 hey assembled the art They 

keylined the ad: they even engraved it. And shipped it 

out by morning. 

"It was perfect. I wouldrit have changed a thing. 

"I'm very proud to say, my opinion was shared by 

CA, the Andy's and Clio's. 

"And the whole time the crew at Ryder was working their tails 

off, I was sitting on my butt at Billy Goat's drinking beer." 

RyderTypes Inc., 500 North Dearborn Street 

Chicago, Illinois 60610.Telephone (312) 467-7117 

Exclusive Chicago area agents for 

Headliners® and Identicolor' processes 

Member Advertising Typographers Association

photo © George Ancona 1982 

First: Kathleen Pullano, Second: Craig Johnson, 

Colorado Institute of Art. Colorado Institute of Art. 

Third: Paul Denault, 

Art Institute of Pittsburgh. 

Aspen Poster Contest Captures Conferees 

ASPEN, Colo.—The Design Schools' third 

annual poster competition at the International 

Design Conference in Aspen proved 

one of the event's most popular visual features. 

The 53 award-winning posters were 

viewed, admired and even photographed by 

hundreds of conference delegates. This contest—open 

to students at The Design 

Schools—attracted over 2,500 entries and 

NEWSLETTER 

Skills for Hire* 

resulted in a wealth of ingenious visual interpretations 

of the conference theme, "The 

Prepared Professional:' A panel of famous 

judges included the regulars (pictured at 

right), plus guest judge Cipe Pineles Burtin, 

noted publications art director. The winning 

posters will travel to all seven of The 

Design Schools, as well as to colleges and 

schools throughout the country. 

Air - - 

Prestigious panel of judges for this year's 

poster competition sponsored by The De- 

sign Schools at the International Design 

Hushed audience listens as the keynote speaker, noted author Gene Youngblood, gives a state-of-the-art look at the world of communications. 

The 

g 

Art Institute of Atlanta 

Art Institute of Fort Lauderdale 

Desi Art Institute of Houston n Art Institute of Philadelphia 

SC 

5 Art 

Art Institute of Pittsburgh 

Institute of Seattle 

Colorado Institute of Art 

* What's a job worth to you? If you're planning a career in art, shouldn't 

you consider a school that prepares you for the real world? And if 

you're an employer, don't you look for the most qualified candidate? 

The Employment Assistance Office at each of The Design Schools works 

hard to match skilled graduates with prospective employers. To learn 

more about The Design Schools, mail the coupon at right. 

Conference in Aspen included Conference 

board members (from right) Lou Dorfsman, 

Henry Wolf, Saul Bass and Ivan Chermayeff. 

Design Schools/RIT 

Conference 

A Sold-Out Success 

ROCHESTER, N.Y.—"Inspiring," "informative," 

"timely" and just plain "great!" were 

the terms used by designers, art directors 

and executives to describe "The Designer 

and the Technology Explosion," a two-andone-half-day 

conference cosponsored by 

The Design Schools and The Rochester Institute 

of Technology. The sold-out event 

was a nonstop, hands-on feast of computer 

design workshops, lectures and seminars— 

featuring prominent names in the fields of 

technology and design, and providing information 

on the use of computers in TV, 

print, film and typography. To prepare students 

for the growing need for computer 

graphics skills, The Design Schools offer 

hands-on experience with the schools' new 

computer graphics equipment. 

Graduates of The Design Schools have had 24 months of intensive, specialized preparation 

in a variety of skills, including advertising design, typography, photography, illustration, 

drawing, perspective, lettering, airbrush, package design, multimedia, animation, mechanicals, 

pre-separation and many others. They are prepared to work productively for you. 

Edward A. Hamilton, Design Director 21 

The Design Schools 

Pan Am Building, Suite 256, East Mezzanine 

200 Park Avenue, New York, N.Y. 10166 

❑ I would like to know more about The Design Schools graduates. Please send 

me your free booklet "Design Graduates at Work." 

❑ I don't have an opening at present, but please keep me advised. 

Name Position 

Company Phone ( ) 

Address City State Zip 

Skills of special interest to me 

47

How to stay 

n to 

of

Varityper 

Great designers are always on top of great 

type because they keep up with the latest 

developments in typography. That's probably 

why you're reading this magazine right now. 

And that's why we are just as dedicated to 

great type as you are. 

To help you stay on top of current design 

trends, we're continually adding new styles to 

the extensive Varityper library. Like the sample 

shown above from our newest type family, ITC 

New Baskerville. 

And our newest system, the Comp/Edit 6400 

digital typesetter, gives you type quality and flexibility 

that has to be seen to be believed. 

We help make your work easier, too. With 

operator aids like our Image Previewer option. It 

shows your jobs on-screen in relative size and 

ITC New Baskerville Bold 

abcdefghijklmnopqrstuvwxyz 

ABC DEFGHIJKLMNOPQRSTUVWXYZ 

1234567890&$$a% 

(:;,.!?.-'=/#*) [n1234567890] 

position. So you can see how your layouts look, 

even before the type is set. 

If you need a type disc in a hurry to meet a 

critical deadline, we'll give you extra-fast 

service. Just call our Type Express hot line 

number, and we'll have your type disc on its way 

to you within eight business hours. 

Return our coupon, or call toll-free today, 

800-526-0709. In Alaska, Hawaii, and New 

Jersey, 201-884-2662. In Canada, call 

416-298-2700. 

When you want to stay on top of type, you'll 

find we never let you down. 

Comp/Edit and Varityper are registered trademarks, and Image 

Previewer, "type" and Type Express are trademarks of 

AM International, Inc. 

©1982 AM International, Inc. 

r Mail this coupon to: 

V1 1 

Varityper, 11 Mount Pleasant Avenue, 

East Hanover, NJ 07936. 

❑ Please send me a copy of your Type Wall Chart. 

❑ Please send me more information on Varityper 

Composition Systems. 

❑ Please have a sales representative call on me. 

Name 

Company 

Phone ( ) 

Address 

City/State/Zip 

49

This headline is sel in 

nape bold condensed for 

a double-page ad bil Berthold, 

announcing Hick new 

sales of brociluits called 

»Berthold FANO«.

Apart from the brochures 

and layout sheets, you'll also 

get a few self-adhesive labels 

to stick on your self-made 

filing boxes. 

There's no charge — 

just send us the coupon. 

Set on «berthold ads 3000» 

in LoTurpe light, 8 key on 3.25 linefeed. 

Written and designed by 

Erik Spiekermann, 

MetaDesign 1981. 

The previous three ads on this subject 

were a bit on the plain side. We thought that 

amongst us designers we didn't have to spell 

everything out in detail. 

By now, however, all the insiders have sent in 

their coupons and we have to appeal to those 

of you who need something a bit more tangible 

before you're prepared to look at our new 

brochures called «Berthold Exclusiv». 

There are four of them so far, each one with 

16 specially designed pages, often in colour, 

displaying our exclusive typefaces 

Comenius, LoType, Poppl Pontifex 

and Seneca. 

As we can't possibly reproduce all 64 pages, 

we've instead decided to illustrate a way 

of solving the problem of storing these and 

other brochures. 

r 

Address 

Clip coupon and send to: H. Berthold AG 

Teltowkanalstra8e 1-4 .D-1000 Berlin 46 West Germany 

berthold 

fototype 

51

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For an advertising typographer, 

every day is Judgment Day. 

That's because Art Directors 

have this rather peculiar notion that 

their type should come back exactly as 

specified. Not pretty close; not just a 

smidge off; but exactly. 

We agree. We're the Advertising 

Typographers Association.The ATA, 

for short. 

ADVERTISING 

HERE 

DOES YOUR TYPOGRAPHER LISTEN 

WHEN Y011 UNTO H ? 

All ATA shops have a long history 

of working with advertising and 

design agencies. So not only do we talk 

a good game, but we've learned how 

to listen, too. 

Plus, ATA members must pass 

rigorous standards, including typesetting 

technology and business ethics. 

Next time you have an exceptionally 

tough job you need set, call 

upon an ATA member. They are ready 

to receive your commandments. 

ADVERTISING 

TYPOGRAPIERS 

ilOq 

461 Eighth Avenue, New York, New York 10001. 

Walter A. Dew, Jr., Executive Secretary. 

MEMBERS: Atlanta, Georgia Action Graphics, Inc. Bloomfield, Connecticut New England Typographic Service, Inc. Boston, Massachusetts Berkeley Typographers, Inc.; Composing Room of 

SPOKEN HE/cr., New England; Typographic House, Inc. Cedar Rapids, Iowa Type 2, Inc. Chicago, Illinois J. M. Bundscho, Inc.; RyderTypes, Inc.; Total Typography, Inc. Cincinnati, Ohio Typo-Set, Inc. Cleveland, 

Ohio Bohme & Blinkmann, Inc. Columbus, Ohio Dwight Yaeger Typographer Dallas, Texas Jaggars-Chiles-Stovall, Inc.; Southwestern Typographics, Inc.; Typography Plus, Inc. Dayton, Ohio Craftsman Type Incorporated 

Detroit, Michigan The Thos. P Henry Company; Willens +Michigan Corp. Grand Rapids, Michigan Acraforms, Inc. Houston, Texas Typografiks, Inc. Indianapolis, Indiana Typoservice Corporation Kansas City, Missouri Western 

Typesetting Company Los Angeles, California Andresen Typographics; Typographic Service Co., Inc. Memphis, Tennessee Graphic Arts, Inc. Miami, Florida Wrightson Typesetting, Inc. Minneapolis, Minnesota Dahl & 

Curry, Inc.; Type House+ Duragraph, Inc. Newark, New Jersey Arrow Typographers, Inc. New Orleans, Louisiana Martin/Greater Film Graphics, Inc. New York, New York Advertising Agencies/Headliners; Royal Composing 

Room, Inc.; Tri-Arts Press, Inc.; TypoGraphics Communications, Inc. Norwalk, Connecticut Norwalk Typographers, Inc. Philadelphia, Pennsylvania Armstrong, Inc.; Typographic Service, Inc. Phoenix, Arizona Momeau 

Typographers, Inc. Pittsburgh, Pennsylvania Davis & Warde, Inc.; Headliners of Pittsburgh, Inc. Portland, Oregon Paul 0. Giesey/Adcrafters, Inc. Rochester, New York Rochester Mono/Headliners San Diego, California 

Central Typesetting, Inc. San Francisco, California Headliners/Identicolor, Inc. Seattle, Washington Thomas & Kennedy Typographers, Inc.; The Type Gallery, Inc. St. Joseph, Michigan Type House, Inc. St. Louis, Missouri 

Master Typographers, Inc. Syracuse, New York Dix Typesetting Co., Inc. Tampa, Florida Century Typographers Montreal, Canada McLean Brothers, Ltd. Toronto, Canada Cooper & Beatty, Ltd. Winnipeg, Canada B/W Type 

Service, Ltd. Brisbane, Australia Savage & Co. Victoria, Australia Davey Litho Graphics Pty Ltd. Brussels, Belgium Graphiservice London, England Filmcomposition Gothenburg, Sweden Fototext/Typografen AB Stockholm, 

Sweden Typografen AB Frankfurt, West Germany Layoutsetzerei Typo-Gartner GmbH Stuttgart, West Germany Layout-Setzerei Stulle GmbH 

57

58 

Universally 

tek 

The Universal 

Quadrifont' sets 

eleven languages 

French 

German 

Spanish 

Portuguese 

Italian 

Swedish 

Danish 

Finnish 

Norwegian 

Dutch 

TM English 

Universal 

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1 2 3 

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ITEK language applications for the 

Quadritek- phototypesetter 

systems are available in over 75 

type families and over 356 type 

face styles. 

Ask for our current type style listing. 

Itek 

Composition 

Systems 

A Division of Itek Corporation 

34 Cellu Drive 

Nashua, New Hampshire 03063

We've just come 

out with a new headline 

phototypesetter— 

the Typositor® 4000— 

and want to show 

you all the marvelous 

things you could do if you had 

one on your premises. 

So we had an awardwinning 

creative team put 

together a 20 page, 4-color 

book that's packed with exciting 

typographic ideas, a few 

of which are illustrated on 

this page. 

There's also a section that 

gives you a brief rundown on 

all the remarkable features of 

the Typositor 4000:' Features 

such as simple operation in 

normal room light, automated 

controls, full visual spacing, 

PATENT APPLIED FOR 

automatic focusing and 

solid state circuitry. Plus 

the unique new VGC 

Microfontr which 

enables you to set 

type up to 3 times 

faster than with 2" font 

machines. 

With a Typositor 

4000 at your 

command you'll 

have all the quality display 

type you need, in sizes from 

24 to 96 point, for just pennies 

per word. Use the headlines 

straight out of the machine, 

or add a few handlettered 

touches of your 

own by following 

the 

examples 

shown in our 

new type design book. 

To receive complete 

information on 

the incredible 

Typositor 4000, 

as well as a complimentary 

copy of our 

unusual typog- FREE INK 

raphy book 

(while supply 

lasts), call or 

send in the 

coupon now. 

Call Us 

Toll-Free 800-327-1813 

IN FLORIDA (305) 722-3000. IN CANADA (416) 533-2305. 

— — 

VISUAL GRAPHICS CORPORATION1 

VGC Park, 5701 N.W. 94th Ave., 

Tamarac, FL 33321 

❑ Please send more information on 

the Typositor 4000, plus the free type 

design book. 

[j] Please arrange a demonstration. 

Name 

Title 

Company 

Address 

City 

State Zip 

Phone 

U8dc 9 82 

59

60 

A 

BCD \ 

EFGHIJ\ 

KLMNOPO 

RSTUV 

WXY 

Everybody in this business 

plays favorites. And Letraset does it 

as well as anyone. So we asked some of our 

favorite designers to choose their favorite 

Instant Lettering® typeface and have some fun with it. 

Kit Hinrichs of Janson Pedersen Hinrichs & Shakery 

(San Francisco) couldn't make up his mind so he 

picked 3 typefaces and designed them into 1 headline. 

Springfield Bold, Windsor and Futura are combined with 

rules and tones to produce a head that crackles with energy. 

This simply proves that an Instant Lettering sheet in the 

hands of a creative designer is a powerful combination. And 

if you're thinking about costs, think about how much this 

headline would cost to produce any other 

way. So ask for a copy of the New Letraset 

Reference Manual at your Art Material 

Dealer. With almost 500 typefaces to choose 

from, you could have a hard time playing 

favorites. Below are some of Kit Hinrichs' 

other favorites from the Letraset range. 

Letraset 

0 ESSELTE LETRASET 

Times 

Rockwell 

Belwe 

40 Eisenhower Drive, Paramus, NJ 07652 201-845-6100 

FRANKFURTER 

GLASER STIENCII. 

ITC Lubalin Graph 

Ow Art Materials ReterenceManual 

V95 

Goudy 

ITC Caslon 

Gill 

Letraset USA Inc, 1982

THE ALPIIATYPE CRS TYPE MASTERS GUILD — 

a group truly concerned about providing you with the finest 

typographic quality. 

To back their commitment, they use the Alphatype CRS... 

the digital phototypesetter with resolution of 5,300 lines 

to the inch for razor-sharp characters. Unprecedented 

control over letterspacing and kerning in 'A unit 

increments. And size for size type design for the 

highest quality in terms of letterform and maximum 

legibility. All of which gives them virtually unlimited 

flexibility to aesthetically solve any typographic challenge. 

You can select from their extensive type font 

library—with the newest faces being added daily. 

The CRS brings a new standard of quality to your 

advertisements, annual reports, books, forms 

and publications. 

The Type Masters Guild—able to handle all of 

your requirements with true typeartistry. Call a Type Master 

for your next job and see for yourself. You'll never again 

settle for less! 

THE ALPHATYPE CRS 

WE DON'T JUST SET TYPE. WE SET NEW STANDARDS. 

In the United States 

Arizona 

Arizona Typographers, Inc. 

Phoenix (602) 263-1166 

Morneau Typographers 

Phoenix (602) 258-5741 

Progress Litho Service 

Phoenix (602) 258-6001 

Arkansas 

Prestige Composition Inc. 

Little Rock (501) 375-5395 

California 

Aldus Type Studio Ltd. 

Los Angeles (213) 933-7371 

Arrowgraphics Inc. 

San Francisco (415) 543-5700 

A.T. Composition 

Berkeley (415) 548-3192 

D &J Typographers, Inc. 

Santa Clara (408) 727-0991 

Future Studio 

Los Angeles (213) 660-0620 

fleadliners/Identicolor 


Koala-T Typesetting 

Lafayette (415) 283-5360 

Linda Graphics 

Santa Barbara (805) 962-2142 

Cass Montgomery Typography 


Omnicomp 


PM Graphics 

Costa Mesa (714) 556-2890 

Rapid Typographers 

San Frincisco (415) 982-6071 

Repro Typographers 


Taurus Phototypography 

Los Angeles (213) 382-8244 

TypoGraphic Innovations 

Beverly Hills (213) 657-6030 

Colorado 

Photocomp Phototypographers 

Colorado Springs (303) 475-1122 

Connecticut 

Fairfield County Typographers Inc. 

Ntstport (203) 226-9338 

Graphics Unlimited 

Danbury (203) 792-0351 

Production Typographers Inc. 

(Pro Type) 

Greenwich (203) 531-4600 

District of Columbia 

Graftec Corporation 

D.C. (202) 337-1555 

Florida 

Typographical Service 

Ft. Lauderdale (305) 772-4710 

Georgia 

Action Graphics, Inc. 

Atlanta (404) 351-1753 

Phototype 

Atlanta (404) 873-1209 

Swift Tom & His Electric 

Type Shop Ltd. 

Atlanta (404) 874-1634 

The Typegroup 

Atlanta (404) 233-8973 

Illinois 

A-1 Composition Co., Inc. 

Chicago (312) 236-8733 

House of Typography 

Chicago (312) 263-1532 

Master Typographers, Inc. 

Chicago (312) 661-1733 

Publishers Typesetters, Inc. 

Chicago (312) 283-3340 

RyderTypes, Inc. 

Chicago (312) 467-7117 

Shore Typographers, Inc. 

Chicago (312) 676-3600 

The Typesmiths 

Chicago (312) 787-8200 

The Typographers 

Chicago (312) 644-7768 

Louisiana 

Forstall Typographers 

New Orleans (504) 524-0822 

Martin/Greater Film Graphics, Inc. 

New Orleans (504) 524-1741 

Maryland 

Marlowe Typography Inc. 

Brentwood (301) 277-8311 

Hodges Typographers, Inc. 

Silver Springs (301) 585-3601 

Michigan 

A-Type, Inc. 

Dearborn (313) 336-2466 

Acra Forms, Inc. 

Grand Rapids (616) 458-1161 

Alpha 21 

Detroit (313) 532-9114 

Rudy Carr Co. 

Detroit (313) 535-2960 

The Thos. P. Henry Co. 

Detroit (313) 875-1950 

Minnesota 

Graph-Tronics 

Minneapolis (612) 338-7171 

Great Faces, Inc. 


P & H Photo Composition . 


Type Tronics, Inc. 


Missouri 

Master Typographers, Inc. 

SL Louis (314) 645-2878 

National Typographers, Inc. 

St Louis (314) 241-8297 

Type House, Inc. 

SL Louis (314) 644-1404 

Nevada 

Alpha Typographers 

Reno (702) 825-8677 

New Hampshire 

Phototype N.E. 

Pelham (603) 898-7440 

New Jersey 

Computype Co. 

Garfield (201) 546-9267 

New York 

Able Phototype Systems' 

Yonkers (914) 476-3336 

M. J. Baumwell Typography Inc. 

New York (212) 868-0515 

Boro Typographers, Inc. 

New York (212) 475-7850 

City Typographic Service, Inc. 

New York (212) 686-2760 

Composition Corporation 

Albany (518) 465-7575 

Cresset Baxter & Spencer, Inc. 

New York (212) 766-9432 

Euramerica 

New York (212) 921-4390 

Farrington &ravia, Inc. 

New York (212) 431-9700 

Fototype Factory Inc. 

New York (212) 889-7995 

Lincoln Typographers 

New York (212) 679-7933 

Line & Tone Associates, Inc. - 

New York (212) 921-8333 

Marvin Kommel Productions, Inc. 

New York (212) 682-3498 

Primar Typographers, Inc. 

New York (212) 269-7916 

Real Type Systems, Inc, 

New York (212) 687-0870 

Sheridan Associates/ 

The Slide Center 

Ossining (914) 941-4981 

Thomer-Sidney Press, Inc. 

Buffalo (716) 856-4500 

Total Typographers Inc. 

Mamaroneck (914) 381-2659 

Tribeca Typographers, Inc. 

New York (212) 925-8080 

Type/Graphics 

Syracuse (315) 437-1101 

Typographix 

Albany (518) 462-2923 

Word Management Corp./ 

Typography Services 

Albany (518) 482-8650 

Ohio 

Advertype Inc. 

Cleveland (216) 241-2274 

Bohme & Blinkmann, Inc. 

Cleveland (216) 621-5388 

Typo-Set 

Cincinnati (513) 751-5116 

Oklahoma 

Alphasource, Inc. 

Oklahoma City (405) 521-0310 

ED-BE Incorporated 

Oklahoma City (405) 943-2391 

Pennsylvania 

Armstrong Inc. 

Philadelphia (215) 574-8600 

Estelle Bair 

Blue Bell (215) 542-7790 

Composing Room Inc. 


Davis & Warde 

Pittsburgh (412) 261-1904 

Ontario 

Adtype Toronto Ltd. 

Toronto (416) 968-6778 

Alpha Graphics Ltd. 

Toronto (416) 961-5600 

Canadian Composition 

Toronto (416) 863-0742 

Eastern Typographers Inc. 

Toronto (416) 465-7541 

Headliners of Pittsburgh Linotext 

Pittsburgh (412) 391-3778 Toronto (416) 274-6395 

Leon Segal Typesetting 


Stallone Typography Service Inc. 


South Carolina 

D G & F Typography 

Columbia (803) 799-9140 

Tennessee 

Graphic Arts Associates, Inc. 

Memphis (901) 345-8973 

House of Typography Inc. 

Memphis (901)726-6961 

Lettergraph ics Memphis 

Memphis (901) 458-4584 

Texas TypoGraphica 2000 Inc. 

Candlelight Type Print Corp. 

Austin (512) 476-0732 

Montreal (514) 933-3315 

... Europe 

RobertJ. Hilton 

Dallas (214) 669-1149 

Pix Graphic Arts 

Beaumont (713) 842-2122 

Virginia 

Riddick Advertising Art 

Richmond (804) 270-1811 

Washington 

Art-foto Typography 

Seattle (206) 622-0218 

Western Typographers Inc. 

Seattle (206) 624-3642 

Wisconsin 

Peter A. Altenhofen Typographers 

Milwaukee (414) 352-3590 

Graphic Composition, Inc. 

Menasha (414) 739-3152 

Zahn-Klicka-Hill Typographers Inc. 

Milwaukee (414) 276-0136 

...Canada 

Alberta 

Duffoto Process Co. Ltd. 

Calgary (403) 263-7160 

Manitoba 

B/W Type Service Ltd. 

Winnipeg (204) 947-0538 

M & H Typography Ltd. (Tor.) 

Toronto (416) 922-3194 

MonoLino Typesetting Co Ltd. 

Toronto (416) 537-2401 

Protype 

Toronto (416) 482-2599 

Techni-Process Ltd. 

Toronto (416) 363-2493 

Vibrd for Word in Colour 

Toronto (416) 960-5050 

PRT Offset 

Quebec London 01-607-7535 

Gravel Photograveur Inc. 

Quebec (418)683-1501 

M & H Typography, Ltd. (Mont.) 

Montreal (514) 866-6736 

Austria 

Grafostil GesmbH 

Wien 222-55-4628 

Text Typographies Ltd. 

Belgium London 01-251-3771 

Graph 'prod uction 

Brussels 640-25-53 

Graphiservice SPRL 

Brussels 538-02-21 

Denmark 

Everts Alfabet 

Copenhagen 1-116320 

France 

Typogabor 

Paris 229-19-90 

Netherlands 

Ploeger Lettering BV 

Amsterdam 020-276451 

Sweden 

Typografen AB ' 

Malmoe 040-112650 

Typografen 2 

Stockholm 08-349255 

United Kingdom 

Apex Photosetting Ltd. 

London 01-837-9369 

Baird Harris Ltd. 

London 01-437-6373 

Billington Press Ltd. 

London 01-987-8118 

De Sa Graphics, Nunhead 

London 01-639-2828 

Em Photosetting 

Beckenham' 

Kent 01-658-7336 

Film Fount Services Ltd. 

Southampton 0703-332686 

Focus Photoset Ltd. 

London 01-251-4911 

Headliners (UK) Ltd. 

London 01-580-7045 

Heavyweight Graphics 

London 01-388-5451 

Image Communications Ltd. 

London 01-580-7017 

Image Services (Edinburgh) Ltd. 

Edinburgh 031-229-6345 

Wine Graphics Ltd. 

London 01-251-4341 

Letterform Ltd. 

London 01-437-3912 

Libra Press 

London 01-928-7081 

Modern Text Typesetting 

Prittlewell 

Essex 0702-45195 

Nova Graphics Ltd. 

Loudon 01-251-3591 

J.T. Orange 

London 01-253-6415 , 

Premlux Reproductions Ltd. 

London 01-236-6991 

Pressdata Ltd. 

London 01-251-6562 

Progress Filmsetting Ltd. 

London 01-729-5000 

Sabrebrook Ltd. 

London 01-658-7336 

Sans Serif Ltd., Deritend 

Birmingham 021-773-8466 

Sellars Phototype 

Macclesfield 0625-612075 

The Setting Room 

Tunbridge Wells 

Kent 0892-39625 

Studio Press (Birmingham) Ltd. 

Birmingham 021-359-3151 

1krbatim 

London 01-837-2176 

Word Machine Ltd. 

London 01-609-1140 

West Germany 

hreuze r 

Munich 089-6372771 

Schmidt & Klaunig 

Kiel 0431-62095 

...Orient 

Japan 

Typro Inc. 

Tokyo (03) 716-0131 

And more to come! 

Alphatype Corporation —a member of the Berthold group — 7711 N. Merrimac Ave. Niles, Illinois (312) 965-8800 CAlphatype Corporation 1982 

See us at the Graph Expo East, Booth #241. 

See us at the NMI Convention, Booth #509, 

61

HOW TO TELL 

A PROFESSIONAL 

'TYPOGRAPHER 

FROM A CHEAP 

IMITATION 

O 

Think about how you design. 

If you're designing your layouts 

around the limits of the type, you're 

working with a typesetter. If you 

think the sky's the limit—whatever 

you design, they'll set—you're working 

with a professional typographer. 

Take a close look at the type. 

You don't have to read between the 

lines to see the difference. If you fmd 

characters that don't quite fit, or even 

belong, and lines that break in the 

most peculiar places, you're working 

with a typesetter. If you're getting 

type that looks like it was crafted with 

as much care and thought as your 

layout, you're working with a professional 

typographer. 

There are all kinds of typesetters 

around today. Some are inhouse. 

Some are inexpensive. Some are in 

somebody's basement. But don't be 

fooled. Just because they set type 

doesn't mean they're a professional 

typographer. Here's how you can tell 

the difference: 

Watch the clock. 

If your type arrives consistently and 

nonchalantly late—you guessed it: 

it's a typesetter. If you get your type 

on time even when you were late 

getting your copy in (and you know 

they will deliver in a pinch) you're 

working with a professional. 

The next time you order type, go 

with the pros. Call your local TIA 

member. 

For more information about TIA typographers, phone or write: 

Typographers International Association 

2262 Hall Place Northwest 

Washington, D.C. 20007 

Phone (202) 965-3400 

Ask a few key questions. 

Ask about their equipment. (A professional 

typographer has the stateof-the-art.) 

Ask about their library. 

(A professional typographer has invested 

in an extensive type library to 

give you more choice.) 

Then ask if they're a TIA member. 

The Typographers International Association 

is devoted to professional, 

quality typesetting. Our member 

typographers exchange ideas and experience 

to insure that you get the 

best possible service. At the lowest 

possible price.

NORMATYPE DARES 

YOU TO WIPE OUT OUR 

BOTTOM LINE. 

Lay down Normatype Transfer Lettering over pencil guidelines. 

Then burnish. Rub out the guidelines with a plastic eraser. 

Normatype won't rub off. It stands up to punishment. Other 

brands don't. 

We're so sure that you'll never do another job without Normatype 

Transfer Lettering, we'll send you a sheet and a burnisher. 

FREE. (This offer good in the United States only) 

Normatype has consistently been a world leader in trend 

setting styles, innovation and quality. We won't crack under 

pressure. 

The rWorldwro 

ir GIVE ME THE ANSWER 

1 ALL MY PRESSING PROB 

I I'll 

FREE. 

take your dare. Please send my free sheet of type and free 

Name 

Company Position or Title 

I Address 

I City State 

Send to: Martin/Mecanorma USA / 

13450 Farmington Road 

Livonia, Michigan 48150 

II 

AVICCANORNIAI 

Allow 4 weeks for delivery. Enclose $1.50 with coupon to 

cover postage and handling or merchandise cannot be shipped. 

Zip 

OFFER EX 

DEC. 30, 1 

GOOD ONLY 

IN U.S.A. 

Dept. ULC 

The complete Mecanorma System consists of Normatype Transfer Letters & Symbols, Normatype Transfer Cards, 

Normatype LPS Strips, Mecanorma Art Markers, Normacolor Film & Paper, Normatone Screens & Patterns, Normapaque 

Red Masking Film, and Normafrisket. If your local dealer does not presently carry Mecanorma products, 

please contact us. Martin/Mecanorma USA, 13450 Farmington Road, Livonia, Michigan 48150. 313-525-1990. 

NMI 

63

64 

CRESC_\T ILLSTRATIO\ 

BOARDS & DAD RS 

CRESCENT CARDBOARD COMPANY, P.O. BOX XD, 100 W. WILLOW ROAD, WHEELING, ILLINOIS 60090 

--044musiatiwslm4owma44AvommlAftWv-- ** ;Inommil 

'iltMokMagotg1f4mtt ,--,,weit 

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t.EADERSHIP 

FAMILY 

GIMMICKS 

OCTOBER 198: 

k Art 

WHAT IS VOLK ART 

FOR THE 80's? 

It's our answer to tight budgets, impossible 

deadlines, and these tough economic times. Volk Art 

offers the best of both worlds: QUALITY and PRICE. 

You'll find no finer illustrations, cartoons or designs 

at any price. 

Volk Art for the 80's is a totally new, creative 

approach to camera-ready art as we've transformed 

our 5 x 8 inch plain vanilla format to a 9 x 12 inch 

palatable delight for the creative designer. Like 

nothing you've seen before, the specially die-cut art 

carrier combines art, layout, and printing techniques 

to inspire creativity on all levels. Each month's production 

notes and the Volk Art Newsletter will spell 

it out for you. 

NEW LOOK - BIGGER BOOK - MORE ART ! 

Volk Art is the choice of professionals for 30 years 

and we'll continue in that tradition by rising to 

the challenge of the 80's. 

CREATIVE ART TITLES 

We'll continue to publish those valuable tried and 

true titles, plus fresh and current topics in demand. 

Each book is introduced with a handsome title page 

and an index on the reverse side. All books are titled 

and numbered in sequence for fast, easy reference 

to save you time and money. We put the art you need 

at your fingertips. 

GREAT ART-TWO SIZES 

Only Volk Art gives you "Graphic Line" illustrations 

in pencil, charcoal, and litho crayon without the aid 

of half-tones! All of the black and white line art is 

flexible enough to withstand plenty of enlargement or 

reduction. You'll find crisp, clean art proofs in two 

sizes impeccably lithographed on "Kromekote" 

repro stock. 

Something New! We've gotten some of our topflight 

illustrators to labor in full color which you'll 

see on covers and color separations provided inside. 

Also, special effects will be applied to certain reproductions 

(all art provided in two sizes - plus indexes) 

to maximize the use of the art. It's our way of giving 

you a better art value. 

48 BOOK TITLES 

12 MONTHLY ISSUES 

Your 12 month subscription includes 48 different 

book titles (4 titles per issue) delivered to you each 

month in a sturdy, attractive art carrier. Packed 

with 40 big pages of art, each issue contains an 

informative newsletter and four title/index pages on 

coordinated color stock. 

You'll receive over 1,000 illustrations, all in two 

sizes, which easily slips into a specially designed 

E-Z Binder by number and title sequence for fast, 

easy reference. You'll use the art effectively in 

company publications, newspapers, magazines, 

booklets, bulletins, ads, signs, direct mail, newsletters, 

posters, billboards, brochures, T-shirts, T.V., A.V. 

and more. 

Impress your clients and inspire your art staff with 

Volk Art for the 80's. Top quality camera-ready art, 

in a beautiful 9 x 12 art carrier, designed to satisfy 

an esthetic need as well as the need to save time 

and money. 

30 DAY FREE TRIAL 

We're so sure you'll like Volk Art, we'll send you 

a current issue free to examine and use for 30 days. 

This is not a contrived sample issue of "ringers," but 

a typical issue of 4 book titles to show you what 

Volk Art is all about. 

With 30 days you can evaluate Volk Art and 

decide whether or not you want to subscribe to the 

best in camera-ready art. Should you decide not to 

sign up, simply cancel within 30 days, keep the free 

issue, and owe us nothing. But, if you do what our 

many satisfied subscribers have done, you'll keep 

this first free issue and start receiving 12 monthly 

issues of Volk Art for the annual rate of $199.95. 

Save 5% and send a check for $189.90 with coupon. 

Compare PRICE, compare QUALITY, and you'll 

agree—the best way to beat budgets and deadlines 

in graphic production is Volk Art for the 80's. 

U CREATIVE COVERS USEFUL SUBJECTS A ART TWO SIZES 'A E-Z BINDER 

PLEASE CLIP & MAIL THIS ORDER FORM 

VOLK ART, INC. 

BOX 72 L, PLEASANTVILLE, NEW JERSEY 08232 

Yes! Send me a free trial issue to examine and use for 30 days. Don't delay, chances are 

I'll want to continue receiving Volk Art for 12 months after seeing my first issue of Volk Art 

for the 80's. Should I decide not to receive my 12 monthly issues of Volk Art, I'll cancel within 

30 days, keep my free issue and owe nothing. My cancellation aside, I agree to receive 

Volk Art and complete payment as follows: 

❑ I'll save 5% on my subscription by paying in advance. Send me my free issue—and 

then my 12 monthly issues. Enclosed is my check for $189.90. 

❑ Please bill me annually with my first issue. This does not include my free sample issue. 

❑ Please bill me quarterly for my 12 month subscription in the amount of $55 at the start 

of each quarter. 

Firm Name 

Authorized by 

Street Address for UPS 

Please Print 

City, State, Zip Code 

Or call toll free 800-257-5377 r64MT-ir7 800B 

MMMMM 

I 

I 

I 

I 

I 

I 

I 

I 

I 

I 

I 

I 

I 

I 

I 

I 

I 

65

66 

In Japan ifs: /35-60-V02WIZ: 911Alit 

In Germany it's: der neue tgeg Sum ntOrfarbigen tatjout 

In the U.S. it's: THE BEST COLOR COMP 

THIS SIDE OF A FINAL PROOF 

A WORLDWIDE SYSTEM 

In the U.K., art directors no longer ask for a comprehensive. 

They specify "Make a Chromatec." 

There must be a lot of good reasons why artists 

and designers all over the world are 

using Chromatec to comp 

their designs. There are. 

Listen to this: 

MATCH ANY COLOR 

Chromatec uses inks with 

the same pigments the 

pressmen will be using. The 

inks are color matched to 

standard ink color systems. 

The precise color you specify 

is the color you will get. 

Opaque or transparent. Including 

fluorescents and metallics. 

ON PRESS STOCK 

Chromatec puts your comp on the 

very same stock on which you'll 

print the finished job. Coated or 

uncoated paper. Film. Foil. Almost 

any flat surface. Even lightly 

textured surfaces. 

Your Chromatec comp is an 

ink-only image on stock. No colored film 

overlays to dull colors or obscure type. No felt 

tip "squeaky" renderings. No paste-on galley 

proofs. That's why a Chromatec comp looks like 

a finished printed piece. We've fooled experts. 

You will amaze your clients. 

rm 1 

For further information 

or the name 

of your dealer 

CALL TOLL FREE: 

800-323-9752 

IN CANADA: (416) 363-6156 

CHROMAT EC 

OR PRINTED JOB? 

(only your printer will k now for sure). 

WAIT—THERE'S MORE 

How many times have you wanted transfer 

lettering in a special color? Chromatec gives it to 

you in any type style, size or color, and you'll 

never run out of E's. Tired 

. of wasting board time 

by rendering the same 

client logo over and over? 

Chromatec makes logos, 

insignia, service marks, any 

color, in the sizes you use 

most, ready to rub off instead 

of draw on. Think of the time 

you'll save. 

Want more? Chromatec is 

also ideal for creating cameraready 

art, T.V. cells, or overhead 

projection slides. Colors will 

photograph true and project 

vividly. Further, there is no better 

way to make 3-D mockups. 

Chromatec comps do not crack or 

chip, even when going around a 

compound curve or a sharp corner. 

COMPS WHICH LOOK LIKE 

PRINTING 

The best way to present a 

graphic idea has always been in finished 

form. Now Chromatec allows you to comp your 

designs in a form that looks like printing. No 

wonder most people refer to it as a proof rather 

than a comp. Give your ideas the presentation 

quality they deserve. Give them Chromatec. 

orK. 

CHROMATEC 

proofs the design.

Reduced art budget? 

Staff cuts? Work overloads? 

Creative fatigue? Tight deadlines? 

Reach for Clipper 

Clipper Creative Art Service...the best friend an 

overworked creative communicator ever had! 

Especially in today's 

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Clipper — world's leading 

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Every month, Clipper 

brings you scores of illus- 

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top professionals — all at a 

fraction of the cost you would 

normally have to pay. Not only 

b & w illustrations in a wide 

variety of subjects, styles and 

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effect photos, design elements and 

symbols, decorative headings, 

borders, mortices and more. 

And to save you creative time, 

every Clipper issue includes 

dozens of idea starters and 

visual suggestions for using 

the art — comp layouts for 

brochures, folders, covers, 

UNITED 

RADIO 

dnpo „ t„ 

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ads, sportswear, promotions, 

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Always fresh, contemporary, inspiring 

Clipper art never repeats 

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always get original 

r cL, 

1982 ANNUAL 

PUMPKIN CARVING FESTIVAL 

material that is provided on 

70 lb. Kromekote for flawless 

reproduction. All are crisp, 

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Clipper also anticipates the 

seasons well in advance 

to give you ample time to 

prepare and present 

future projects. 

12 issues a year, 24 big pages 

in each. A Clipper annual subscription 

includes 12 monthly 

Clipper issues, 3 monthly 

pictorial indexes, a Cross 

Reference Index (of our 8,000plus 

subject art library), vinyl 

binders for both issues and 

indexes, plus 12 monthly issues 

of "Clip Bits" — the "how-to" 

magazine supplement. 

You get all this with Clipper 

... for less than $1 

a day! 

Clipper will arrive on your 

drawing board or desk about the 

20th of each month. In it are 24 

pages (121/2" x 19") containing 

scores of individual illustrations, 

primarily black and white line art, 

but also special-effect photos — 

even a ready-to-print color separation 

for instant covers, etc. 

Dozens of suggested applications 

— 8 pages of finished layouts 

are included in each issue. 

All layouts will have copy, art and 

headlines in position. Not that 

you'll use them as they are, but 

they're great idea starters and are 

easily modified to solve tight 

deadlines and other creative 

problems. 

At your service — world's largest 

commercial art library. This 

Clipper art library contains 10 

years and more than 8,000 individual 

illustrations. All are 

cataloged and cross referenced 

for your use, without charge. You 

pay only a modest postage and 

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there's no limit on the number of 

times you may use it. 

Will you like 

Clipper? 

We're 

convinced 

you will. 

But try Clipper 

yourself and see. 

Simply complete 

and mail the 

coupon. We'll send 

you a Special Sample 

Issue containing more 

than $11,000 of original 

Clipper art. Use it. Let it 

stimulate and inspire you. Then 

decide whether Clipper is for 

you. No risk. If you decide 

you can't use Clipper, 

simply cancel your 

order within 15 days and 

owe nothing. 

In the meantime ... 

MAIL COUPON 

TODAY FOR 

YOUR FREE 

SAMPLE CLIPPER 

Dynamic Graphics, Inc. 

6000 N. Forest Park Dr. P.O. Box 1901 

Peoria, IL 61656-1901 

I 

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MAIL THIS COUPON 

TODAY FOR FREE TRIAL ISSUE 

Yes! I'd like a FREE TRIAL ISSUE of Clipper®. So enter 

my order for a one-year, 12-issue subscription to Clipper 

Creative Art Service®at $29.50 per month, plus postage 

and handling from Peoria, IL, USA. After the first 12 

issues, continue to ship monthly, subject to my written 

cancellation notice 30 days prior to publication (20th of 

every month). 

However, first send me the FREE TRIAL ISSUE, which I 

may review and use. If I decide that Clipper is not for 

me, I may cancel this order within 15 days, keep the 

FREE ISSUE and owe nothing. (Note: this offer applies 

in North America only.) Otherwise, I agree to complete 

payment as follows: 

❑ I prefer to SAVE 3% of the subscription price by 

prepaying. Please bill me now. 

❑ Please bill me monthly as the year's issues are 

shipped. Terms are net 10 days. 

ATTENTION (please print or type) 

TITLE 

COMPANY (if applicable) 

STREET (do not use P.O. Box No.) 

CITY STATE ZIP 

BUSINESS PHONE (area code) TYPE OF BUSINESS 

AUTHORIZED BY (signature & title) 

FOR OFFICE USE ULC 982 

MAIL TO: ® Dynamic Graphics, Inc. 

6000 N. Forest Park Dr., P.O. Box 1901 

Peoria, IL 61656-1901 

Lmmummosmi 

67

68 

THE FARMERTHAT LAID THE GOLDEN EGG. 

A true story. 

It was a Thursday afternoon, and Ginny was in trouble. 

An ad was due at the client and neither she nor Buck ,the writer, 

had any ideas. 

"Got anything?" 

"No. You?" 

The conversation lagged as they flipped from one award 

book to another looking for ideas. 

"We could try. . ." 

"Nah." 

At 4:35 sweat began to trace a pencil-thin line through the 

downy hairs on the back of Ginny's neck. 

At 7:42 Buck threw his pen against the wall. 

Together they beseeched the Muse. 

Secretly they each began to doubt the other's abilities. 

Then, suddenly, shyly, a thought came to one of them. 

"Why don't we look in IBID?" 

"Ok." 

It was a smart move. 

Not 20 minutes after they had opened the binders of IBID 

photos that are sent to each IBID subscriber, they saw the farmer. 

Number 2071. 

"That's it," cried Buck, as he dashed off the best headline 

of his then-fledgling career. 

"It's terrific," warbled Ginny, seeing in her mind a type face, 

a look, her name in the One Show. 

They called IBID. 

And the next day, instead of the doom they had feared, 

there appeared at their door a package containing nothing less than 

IBID stock photo number 2071. 

A farmer, who for them, had laid a veritable golden egg. 

IBID 

For a free copy of The IBID Sampler, plus all the details on using IBID photos, call or write IBID, 

314 W. Superior, Chicago, IL 60610. (312) 644-0515. Or, 515 West End, N.Y.C., NY 10024. (212) 362-5411.

MAGENTA BLACK GATF COLOR TEST STRIP 

We do far-out color separations. 

At down to earth prices. 

2211 SW 57th Terrace, W. Hollywood, FL 33023. Broward: 962-5230 

Dade: 625-8242. Fla. WATS: 1-800-432-3552. USA WATS: 327-9786 

Another perfect set of color proofs from TruColor. 

2211 SW 57th Terrace,VV. Hollywood, FL 33023. Ha. WATS: 1-800-432-3552/Broward: 962-5230/Dade: 625-8242 

For color separation samples see the Computer Graphics Lab section in this issue. 

69

70 

Like our artist's rendition of an Art Director? Send for your free 19"x 21" color poster to: Design Typographers, Inc., 500 N. Dearborn St., Chicago, IL 60610. Please enclose Si for postage. In Chicago, just call 329-9200 and ask.

Talk About 

Type Quality 

You can talk type at some At Typogram we set only 

big lunch with some big Berthold Phototype. You'll 

type salesman. Typogram get 1) Much sharper type, 

doesn't have big lunches or 2) Authentic font designs 

big salesmen. Our Berthold including many Berthold 

type talks for itself. exclusives, 3) Up to twenty 

weights of horizontal and 

vertical rules, 4) A job set, 

kerned and checked by 

people who care. 

berthol 

fototype d 

Simply remove old 

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Replace, and wait 

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ink to rise in 

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0 $‘ 

6 .1* 

li° 

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itA*0 Olt\ 

of \a Cc' ‘\ 

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1641%1°1* \\ZS\ 

Typogram. Typography 

for connoisseurs and 

for weight watchers. 

TvPocJramml 

le 212 688 2511 

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New York NY 10017 

Photo: Craig Sugimoto 

x\e'( ?se *\se)-- 

-cx\sel \)9 so coe fai,(\k- epis 

PS) 

Dept. UIc 

407 Gilbert Avenue, Cincinnati, OH 45202 

❑ Payment enclosed ❑ Send COD (US only. Postage extra.) 

❑ Master Charge ❑ BankAmerlcard or VISA 

Account Number (List all digits from your charge card) 

Expiration Date 

1111111111111111 

Master Charge customers: in addition to your account number Signature 

please list the four digits above your name. 

NAME 

COMPANY 

STREET 

CITY 

III I I 

STATE 

chartpak 

A TIMES MIRROR COMPANY 

LEEDS, MASSACHUSETTS 01053 

DIDCOT, ENGLAND OX11 7NB 

MISSISSAUGA, ONTARIO L4W 2V6 

Designer's 

Dictionary 2 

This dictionary of display and design is guaranteed 

to stimulate the imagination. Within the 58 

subject categories are literally thousands of illustrations 

by well-known artists in a variety of 

media. Many are line drawings that can be pulled 

from the book and used as clip art. If you are a 

creative professional in retail display and promotion, 

exhibit design, advertising, commercial art 

or a related field, you will find Designer's Dictionary 

2 a valuable sourcebook of ideas. 

Softcover, 407 pages, 8 1/2 x 11, $28.00 

Please send copies of DESIGNER'S 

DICTIONARY 2 at $28 each. Add tax in Ohio 

ZIP 

41= 

required using charge card 

71

72 

ompiled by Roy P Basler, Published by Library of Congress, 1972, ISBN 0-8444-0018-1 

Translation by Andonis Samarakis in "Lincoln's Gettysburg Address Translatio 

'E86.) xat oybovTa ETTa x@Ovia, of ACIttegEg [tag 

orptoiTyrioav &akin/ till EVCE xatvoiTto 

El9v0g, *6116.11011ev0 otrjv 'EkEy*EQ1a xat al:pootco- 

Ovo ottiv toga att of aVOCIONTOL £IVOLL iikot tXao- 

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73

74 

Do you know this empty matchbook 

is printed on Classic Cover? 

Neenah Paper 

Even old jokes take on a matchless quality 

with Classic Cover 

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A Kimberly-Clark Company 

Neenah, Wisconsin 54956 

©1982 K.C.C. 

"$375 for ? 

But the space only type costs $750!" 

Type bills are driving everyone crazy. Up, up they go—with no ceiling in 

sight. But your client doesn't want to know about that. He wants to know why 

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AD 

ARNOLD & DEBEL INC. 

TYPOGRAPHERS 

270 MADISON AVENUE 

NEW YORK, N.Y. 10016 

(212) 889-3711 

Only the following Subscriber Companies are 

licensed to manufacture and sell ITC typefaces: 

AM International, Inc. 

Varityper Division 

11 Mt. Pleasant Avenue 

East Hanover, N.J. 07936 

(201) 887-8000 

Phototypesetters and Photolettering 

Systems 

Alphatype Corporation 

7711 N. Merrimac Avenue 

Niles, Illinois 60648 

(312) 965-8800 

AlphaSette and AlphaComp 

Phototypesetting Systems 

CRS Digital Phototypesetter 

Artype, Inc. 

3530 Work Drive 

P.O. Box 7151 

Fort Myers, Fla. 33901 

(813) 332-1174 

800-237-4474 

Dry Transfer Letters 

Cut Out Letters 

Autologic, Inc. 

1050 Rancho Conejo Blvd. 

Newbury Park. Calif. 91320 

(213) 889-7400 

APS-4/APS-5 CRT Phototypesetter 

Composition and 

'typesetting Systems 

Autologic SA 

1030 Bussigny Pres Lausanne 

Switzerland 

021/89.29.71 

Bobst Graphic Products and 


H. Berthold AG 

Teltowkanalstrasse 1-4 

D-1000 Berlin 46 

West Germany 

(030) 7795-1 

Diatronic. ADS 3000, Diatext, 

Diatype, Staromatic, 

Staromat, Starograph 

Berthold of North America 

610 Winters Avenue 

Paramus, N.J. 07652 

(201) 262-8700 

Diatronic, ADS, Diatype. 

Staromat. Diasetter, 

Repromatic 

Dr. Boger Photosatz GmbH 

2 Wedel in Holstein 

Rissener Strasse 94 

West Germany 

(04103) 6021-25 

Manufacturers of Copytronic 

Phototext Composing Machines, 

Film Fonts, and Copytype 

Photolettering Systems 

and Fonts 

Cello-lkk Mfg., Inc. 

35 Alabama Avenue 

Island Park, L.I., N.Y. 11558 

(516) 431-7733 

Dry Itansfer Letters 

Chartpak 

One River Road 

Leeds, Mass. 01053 

(413) 584-5446 

Dry Tyansfer Letters 

Compugraphics Corporation 

200 Ballardvale Street 

Wilmington, Mass. 01887 

(617) 944-6555 

EditWriters, CompuWriters, 

Text Editing Systems, 

MCS"' 8200, 8400, 8600, 

Accessories and Supplies 

Esselte Dymo N.V. 

P.O. Box 85 

Industrie Park-Noord 30 

B-2700 Sint-Niklaas 

Belgium 

031/76.69.80 (10 1.) 

Visual Systems Division 

Film Fbnts International, Inc. 

330 Phillips Ave. 

South Hackensack, N.J. 07606 

(201) 440-9366 

Manufacturers of fonts for: 

2" Display Film Fonts 

Filmotype 

7711 N. Merrimac Avenue 

Niles, Illinois 60648 

(312) 965-8800 

Film Fonts 

Fbnts 

Hardy/Williams (Design) Ltd. 

73 Newman St. 

London WI England 

01-636-0474 

Font Manufacturer 

Fundicion Tipogrifica 

Neufville, S.A. 

Puigmarti, 22 

Barcelona-12 

Spain 

219 50 00 

Poster Types 

Geographies, Inc. 

P.O. Box R-1 

Blaine, WA 98230 

(206) 332-6711 

Dry ll-ansfer Letters 

Graphic Products Corporation 

3601 Edison Place 

Rolling Meadows, III. 60008 

(312) 392-1476 

Formatt cut-out acetate letters 

and graphic art aids 

Harris Corporation 

Harris Composition Systems 

Division 

P.O. Box 2080 

Melbourne, Florida 32901 

(305) 259-2900 

Fototronic 4000. TXT 1200, 600 

CRT 7400. 7450 

Dr.-Ing Rudolf Hell GmbH 

Grenzstrasse 1-5 

D2300 Kiel 14 

West Germany 

(0431) 2001-1 

Digiset Phototypesetting 

Equipments and Systems, 

Digiset-Fonts 

Information International 

5933 Slauson Avenue 

Culver City, Calif. 90230 

(213) 390-8611 


International Graphic 

Marketing 

21B Quai Perdonnet 

P.O. Box 58 

CH-1800 Vevey 

Switzerland 

(021) 51 85 56 

Font Manufacturer 

International lype Fonts ApS 

c/o Cooper & Beatty, Limited 

401 Wellington Street West 

Ibronto M5V 1E8 

(416) 364-7272 

'type Discs for Harris 600, 

1200. 4000. TXT Typesetters 

Itek Composition 

Systems Division 

34 Cellu Drive 

Nashua, N.H. 03060 

(603) 889-1400 

Phototypesetting Systems and 

Equipment. Film Strips, 

Standard and Segmented Discs, 

and Digitized Fonts 

Letraset International Ltd. 

St. Georges House 

195/203 Waterloo Road 

London SE1 84J 

England 

(01) 930-8161 


Letraset USA Inc. 

40 Eisenhower Drive 

Paramus, N.J. 07652 

(201) 845-6100 

Dry 'transfer Letters 

Linographics 

770 N. Main Street 

Orange, California 92668 

(714) 639-0511 

Display Typesetters, 

2" Film Fonts 

Mecanorma 

78610 LePerray-en-Yvelines 

Paris, France 

483.90.90 

Dry Tyansfer Letters 

Mergenthaler Linotype 

Company 

201 Old Country Road 

Melville, N.Y. 11747 

(516) 673-4197 

Linoterm, Linotron, Omni- 

tech CRTyonic, Phototypesetting 

Equipment and Systems 

Metagraphics 

Division of Intran Corp. 

4555 W 77th St. 

Edina. Minn. 55435 

(612) 835-5422 

Digital Fonts for Xerox 9700 

For further information, write or call: 

The Monotype Corporation Ltd. 

Salfords, Redhill, Surrey 

England 

Redhill 6 5959 

Visual Communications 

Equipment 

Officine Simoncini s.p.a. 

Casella Postale 776 

40100 Bologna 

Italy 

(051) 744246 

Hot Metal Composing Matrices 

and Phototypesetting Systems 

Optronics International, Inc. 

7 Stuart Road 

Chelmsford, Mass. 01824 

(617) 256-4511 


PhotoVision Of California, Inc. 

P.O. Box 552 


(213) 870-4828 

Toll Free: 800-421-4106 

Spectra Setter 1200, Visual 

Display Setter, and 2" Film 

Fonts 

Pressure Graphics, Inc. 

1725 Armitage Court 

Addison, Illinois 60101 

(312) 620-6900 

Dry -transfer Letters 

Prestype, Inc. 

194 Veterans Blvd. 

Carlstadt. N.J. 07072 

(201) 933-6011 

Dry 'Monster Letters 

Purup Electronics 

28 Jens Juuls Vej 

DK 8260 VIBYJ 

Denmark 

Tel: 456-28 22 11 

Laser Forms Printer 

Ryobi Limited 

762 Mesaki-Cho 

Fuchu-Shi 

Hiroshima-Ken 726 

Japan 

Text/Display Phototypesetters 

Simulation Excel A.S. 

Sinsenveien 51 

Oslo 5 

Norway 

Tel: 47-2-15 66 90 

PAGEscan Digital Typesetter 

PAGEcomp Interactive Ad 

and Page Make-up Terminal 

D. Stempel AG 

Hedderichstrasse 106-114 

Frankfurt am Main-70 

West Germany 

(0611) 6068-1 


iltetype, Inc. 

12 West 26th Street 

New York. N.Y. 10001 

(212) 924-1800 


lbchnographies/Film Pbnts 

P.O. Box 552 


(213) 870-4828 

Ibll Free: 800-421-4106 

Film Fonts, Studio Film Kits, 

and Alphabet Designers 

Visi-Graphics 

8119 Central Avenue 

Washington, D.C. 20027 

(301) 366-1144 

Dryll-ansfer Letters 

Visual Graphics Corporation 

5701 N.W. 94th Avenue 

Tamarac, Florida 33321 

(305) 722-3000 

Manufacturer of Photo Typositor 

and Original Typositor 

Film Fonts 

Xerox Corporation 

Digital Graphics Center 

701 South Aviation Blvd. 

El Segundo, Calif. 90278 

Mail Stop-A3-39 

(213) 536-5926 

Electronic Printing Systems 

Zipatone, Inc. 

150 Fend Lane 

Hillside, Illinois 60162 

(312) 449-5500 


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Send for free copy of the Graphic Products Catalog 

illustrating the FORMOST library of clip art books. 

COMPANY 

STREET 

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ATTENTION 

I Announcing 

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hesv_c,„ 

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76 

CLUSIVE FACES- HEADLINE. CASTRI OTA FLAT TOP BOL D 6453, TEXT FUTURA MAXI BOOK 8228. 

THE 

FULL8EliVIOE 

TYPOOlitirtlEli 

Finding a typographer that has everything you need isn't always 

easy. One shop may have the headline face you like; another, the text 

face. Still another, some specialty service. In the end, you still wind up 

doing the work a "Full-Service" typographer could have done. 

When you think of Photo-lettering, Inc., you probably think "display 

faces" We do have the world's largest collection of display faces. Over 

10,000. But we are also a FULL-SERVICE typographer, with more than 

40 services under one roof (text composition, special camera effects, 

handlettering, decorative and ruled borders, alphabet designing, 

and Spectrakrome color preview prints, to name a few). And, we put 

them all together to save you time and money. 

So, rest easy. Here is a type house that has everything you need. 

Think "EVERYTHING" when you think of Photo-Lettering, Inc. 

We're the FULL-SERVICE typographer. 

Just released! 

Dick Blick's '83 

Graphic Art Materials 

Catalog. 

Art 

Design 

Illustration 

Sign 

Display 

Lettering 

Screen Printing 

Airbrushing 

Free! 

Name 

Title 

Company 

Address 

City, State, Zip 

Graphic Art Materials 

Dick Blick, Dept. UL, Box 1267, Galesburg, IL 61401 

13,cA 

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NA 04*r 

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1982.83 

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Letraset 

Chartpak 

Zipatone 

Koh-l-Noor 

Mars 

Eberhard Faber 

Liquitex 

Winsor & Newton 

Neolt 

Paasche 

Etc. 

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DUOPRINT papers, films, chemistry 

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Join thousands of Satisfied DuoPrint users who enjoy 

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t corporation 

114 Beach Street, Rockaway, New Jersey 07866 (201) 625-4400 

Solution to puzzle ■ ,r) pnge 29 

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GRAPHICS 

Continued from page 45 

tern we are developing, most of our work currently 

is created with a computerized motion-control 

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The film is then rewound and the process repeated, 

with a different high-contrast negative and 

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For example, let's say we are going to make 

a logo fly into the center of the frame with a 

streak trailing behind it. The motion is effected 

by varying the relative positions and orientations 

of the camera and lightbox for each frame 

exposed.The streak may be created by having 

the computer move the camera and lightbox 

during the exposure of each frame to cause what 

is essentially a controlled motion blur. If the 

face of the logo is to be rendered in one color, 

the sides of the logo in a second color, a hairline 

outline is to be added in a third color, and the 

streak in a fourth color, then at least four passes 

of the same piece of film through the camera 

will be required. 

The computer ensures that the camera and 

lightbox go through exactly the same motions for 

each pass of the film; the final logo appears as a 

single coherent unit, in spite of it actually being 

constructed of four separate elements.

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ITC Eras"' 100 

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100 

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ITC New Baskerville" 1.00 

ITC Newtext" 1.00 

ITC Novarese 1.00 

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ITC Serif Gothic* 100 

ITC Souvenir' 100 

ITC Tiffany with Italic 100 

ITC Zapf Book''" 100 

ITC Zapf Chancery' 1.00 

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Now You can order these 

ITC Type Specimen Booklets 

To obtain these handsomely designed, colorful ITC type specimen booklets, 

just complete this order form and mail it to us. All orders must be 

accompanied by a remittance. Please make checks payable, in U.S. funds, 

to ITC at: 2 Hammarskjold Plaza, NewYork,NY.10017,USA 

En vente Ces brochures-specimens 

ITC sont livrables de stock 

Pour obtenir ces jolies brochures-specimens ITC, it suffit de remplir ce bon 

de commande et de nous le retourner. Toute commande doit etre accompagnee 

d'un avis de paiement acquitte. Priere de payer en $ americains 

au nom de ITC: 2 Hammarskjold Plaza,NewYork,NY.10017,USA 

Nunmehr kennen Sie diese 

ITC-Schriftmusterhefte bestellen 

Wenn Sie diese attraktiv entworfenen, farbvollen ITC-Schriftmusterhefte 

erhalten mOchten,fullen Sie bitte den Bestellschein aus.Alle Bestellungen 

mussen vorbezahlt werden. Senden Sie Ihre Zahlanweisung (in U.S.- 

Wahrung und zahlbar an ITC) zusammen mit dem Bestellschein an: 

2 Hammarskjold Plaza, New York, N.Y. 10017, USA 

Notice to typographers: for purchases of 50 or more ITC specimen booklets,contact Mr. John Prentki for special typographer's price.

THE ITC TYPEFACE 

COLLECT CT IS DESIGNED 

TO MAKE SPECIFYING 

The ITC 

Collection 

includes all 

ITC O'petace 

families 

issued 

through 1980 

TYPEFACES EASIER 

ITC American Typewriter 

ITC Avant Garde Gothic 

ITC Bauhaus 

ITC Benguiat 

ITC Benguiat Gothic 

ITC Bookman 

towtradappuidorticsh.n .n 

intapamiiatuitin 

ogrugada ad, id,. ine °daunt.. ‘au 

abcdalUdiiiiituOuUtrattuddz 

Anratte_f(MIJKISIMOPQRSTINVv7717, 

ITC Century 

ITC Cheltenham 

ITC Cleartirce 

ITC Eras 

ITC Fenice 

ITC Franklin Gothic 

Friz Quadrata 

ITC Garamond 

Italia 

ITC Kabel 

ITC Korinna 

ITC Lubalin Graph 

ITC Newtext 

ITC Novarese 

t1PdVatalard Oir tedill of maid., iiaa 

an attitude Its agatical cornea horn the imitedlanato 

in its planning the dedunet inamt 41.07" In tonterouniad 

vending Ow pude, Akan a, ricnacrus v... 

end..h unortluallox typdtraphii It oda, ragare are 

abi ,k4g4i.tutunul,a.tuddi77 

-11./141,1MWQ1lait INWXY71 -1.34567W. ACCIXT01 

, 

in dpogtaphy d o n ot nothingmom 

thatl An attitude. Its appeal comes Iron, the linck.r.1.111 

ding used in its plattning: the iii,igner ‘,isie. I n 

ntemparad ackertising the pidek t integration si 

go eternenti, oal un deinatud xtilothn dpodiatald 1 

ITC Quorum 

ITC Serif Gothic 

ITC Souvenir 

ITC IlfErny 

ITC Zapf Book 

ITC Zapf Chancery 

ITC Zapf International 

PLUS...The ITC 

Display Typeface 

Collection 

AIMI:l...The ITC 

ZapirDingbat 

Series 

ahedeinIejkIn n ugrgr .

80 

CALENDAR 

OF EVENTS 

The ITC Center was established to introduce new and exciting typo/graphic arts experiences. It is now a growing resource for students and professionals. 

European designers treat 

calendars as a special form 

of design. One of the masters 

of this art, Olaf Leu, has been 

invited to exhibit examples 

of his unusual calendars at 

the ITC Center.These works 

are the result of a unique 

Do you wish you had placed the illustration 

in your layout a bit to the right? 

Move it in a split second—with no rubber 

cement thinner, no razor blades. Do you 

want to have a detailed image repeated 

in your artwork, but can't possibly redraw 

it? Copy it once, twice, or 1000 times with 

the touch of a button.If you don't like a 

OCTOBEIt 12- 

DECEMBER 3 

THE 

CALENDARS 

OF OLAF LEU 

December 13, 1982-January 28, 1983 

Computer Graphics from the Computer Graphics Lab, 

New York Institute of Technology 

color in your painting, change it to any 

one of billions of others with the touch 

of a pen. A pen? Sure, if you're using a 

computer. Artists at the New York Institute 

of Technology's Computer Graphics 

Lab have put together an exciting exhibit 

of computer design, including animation, 

fine and commercial art. On display will 

blend of photography (dating 

back to 1868), illustration 

and exquisite typography. 

Some of the calendars are 

game boards, others are 

Greenwich Village scenes.A 

variety of printing processes 

were used to produce them. 

be printed pieces, videotape, films and 

slides of artwork generated on a computer. 

A videotape explaining how the 

art was created will be shown daily. If 

the color section in this issue of U&lc 

intrigues you, be sure to visit the ITC 

Center between December 13th and 

January 28th. 

Other Future Exhibitions: The Alphabets of Simon Nathan/Nippon Typography Kyokai/Visible Language Workshop 

Hours: 12 noon-5:00 PM. Admission: Free. Open Mon.-Fri. (Closed October 11; November 2,24,25,26; December 23,24,30 and 31) 

ITC Center: 2 Hammarskjold Plaza (866 Second Avenue between 46th and 47th Streets), 3rd Floor, New York, New York 10017 

For more information call (212) 371-0699. 

MOVING? CHANGE OF ADDRESS: 

SEND THIS LABEL (OR A COPY) WITH 

YOUR CORRECTIONS TO: 

U&LC SUBSCRIPTION DEPT., 

2 HAMMARSKJOLD PLAZA 

NEWYORK, NY 10017 

CONTROLLED CIRCULATION POSTAGE PAID AT FARMINGDALE, N.Y. 11735 AND NEWYORK, N.Y. 10017 USTS PUBL 073430

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